Scan 11
Musical Courier 1905-09-06: Vol 51 Iss 1328, 1905
73 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1THE MUSICAL COURIER.
3THE RETURN OF REISENAUER.
5WITH far more than ordinary interest and pleasure has the announcement been received that Alfred Reisenauer will return to America this season and make a transcontinental tour, under the direction of Loudon G. Charlton. The great German pianist's triumph two years ago, when he played for the first time in this country, was indisputable, and his reappearance will be awaited with pleasurable anticipation.
7A pupil of Liszt, Reisenauer inherited all the traditions of that school, and he is rightly considered one of its greatest exponents. At the same time, he does not confine himself by any means to Liszt compositions, as he plays with equal mastery the works of Beethoven, Schumann, Chopin, Rubinstein, Bach—in fact, his repertory includes the works of all the greatest composers.
9Reisenauer's home is near Leipzig, where he has a beautiful villa in which are collected the mementos of his years of association with Liszt and other famous musicians. His birthplace was Koenigsberg, and there he spent his boyhood. At Cardinal Hohenlohe's palace in Rome, in 1881, he made his debut, and since that time his name has been a familiar one to all to whom piano music appeals. He has toured Europe, Siberia and Central Asia, while in Russia alone he has been heard more than seven hundred times. In the latter country a musical jubilee in his honor was arranged on the occasion of his five hundredth concert.
11In his native land, Germany, Reisenauer is held in the highest esteem, both as a musician and as a man. In speaking of him recently, a leading Berlin paper said: "The glorious recitals of Reisenauer will belong to the most memorable remembrances of the concert season. They will not soon be forgotten by the many devout listeners of the interpretations of this great artist. The audiences that have thronged Beethoven Hall, and the enthusiastic applause which has followed each performance show that the German capital knows how to value the greatness of this divinely endowed musician."
13Martin Krause, the famous pedagogue, in commenting upon Reisenauer's art, said: "He has secured a position among the highest piano artists, one such as could not be surrounded with greater honors. He may well be pointed out as a model for other pianists to follow."
15Reisenauer will be heard in all the principal cities of the country, his tour extending as far west as the Pacific Coast.
17Otie Chew in Germany.
19SOME weeks ago THE MUSICAL COURIER published criticisms from the Berlin papers on the playing of Otie Chew, the gifted English violinist. Today extracts of reviews from papers in Dresden, Munich, Hanover, Stuttgart and Nuremberg are appended:
21Otie Chew's concert, given in the Vereinshaus on the 11th instant, was a musical, artistic and personal success. Her technic is thorough, her tone true and expressive, her school the best, and her readings classical and intelligent, and played with the warm appreciation and fine musical feeling characteristic of this young artist.—Stranger's Guide to Dresden, November 19, 1904.
23Otie Chew is a brilliant violinist. In the Bach Sonata, No. 6, for violin alone (E dur), she showed an astonishing knowledge of music; a beautiful, large tone, perfect intonation and imposing.
25Arens Vocal Studio
26REOPENS MONDAY, SEPTEMBER 18th
27Send 12 cents for booklet, "MY VOCAL METHOD," giving rates of tuition, etc.
28STUDIO: 805 FIFTH AVENUE, NEW YORK CITY
30That the young violinist, Otie Chew, takes her art seriously, and does not go about trying to win cheap applause with it, I was strongly convinced after what I heard of her playing. Why else did she choose the Brahms sonata and the Bach sixth sonata for violin alone, with which she could only expect to win the favor of true music lovers? Her technical and musical development is so far advanced that she has an absolute command of these works. That means everything.—Hannover Tageblatt, November 16, 1904.
32The violinist, Otie Chew, with her matured technic, her big tone and her natural endowment of musical feeling, was able to interpret the essence of the Brahms music.—Hannover Anzeiger, November 18, 1904.
34The violinist, Otie Chew, played together with Herr Galston the D moll sonata of Brahms. Intelligent conception of the musical thought, as well as a healthy, vigorous tone, which was supported by an energetic, almost masculine, stroke of the bow, and deep musical feeling, are characteristics which distinguish the playing of this graceful young artist. I heard also the Bach sonata for violin alone, No. 6. The reading of this somewhat thankless work was artistically considered, above criticism. Enthusiastic applause was accorded the violinist for her finished performance.—Hannover Tages Nachrichten, November 16, 1904.
36Otie Chew made the impression of a fluent, easy player, by her perfect, clean technic. Brahms was excellently interpreted. Especially charming was the melancholy which seemed to sing out of the twilight. We would like to emphasize the grace of Miss Chew's playing. She was warmly applauded. The rather long program was of great interest and artistic enjoyment.—Stuttgarter Cannstatter Zeitung, November 9, 1904. one of two readings
37Otie Chew made the impression of a fluent, easy player, by her perfect, clean technic. Brahms was excellently interpreted. Especially charming was the melancholy which seemed to sing out of the twilight. We would like to emphasize the grace of Miss Chew's playing. She was warmly applauded. The rather long program was of great interest and artistic enjoyment.—Stuttgart Cannstatter Zeitung, November 9, 1904. one of two readings
39Otie Chew is an artist who stands far above the average run of violin soloists in technical equipment as well as musical understanding. Her powerful bowing and absolutely pure tone, the plastic and refined way of giving all the nuances in these melodic musical pictures; the warmth and poetry of her interpretations; found expression in the Brahms D moll sonata and Bach's sonata, No. 6, for violin alone (in which the purity of the several voices was especially worthy of praise), as well as the aria of Goldmark and a Hungarian dance of Brahms-Joachim. All of these proved most convincingly the extraordinary talent and musical ability of this young artist. She was accorded great applause.—Stuttgarter Deutsches Volksblatt, November 3, 1904. one of two readings
40Otie Chew is an artist who stands far above the average run of violin soloists in technical equipment as well as musical understanding. Her powerful bowing and absolutely pure tone, the plastic and refined way of giving all the nuances in these melodic musical pictures; the warmth and poetry of her interpretations; found expression in the Brahms D moll sonata and Bach's sonata, No. 6, for violin alone (in which the purity of the several voices was especially worthy of praise), as well as the aria of Goldmark and a Hungarian dance of Brahms-Joachim. All of these proved most convincingly the extraordinary talent and musical ability of this young artist. She was accorded great applause.—Stuttgart Deutsches Volksblatt, November 3, 1904. one of two readings
42In Otie Chew one became acquainted with a highly gifted violinist. The tone which she brings out of her instrument is of unusual force and increases in the forte to an astounding volume. The bowing is characterized by grace and elegance, and the intonation leaves nothing to be desired. Wonderfully beautiful was the adagio of the Brahms sonata in D moll, and the difficult last movement was played with remarkable verve and technical accuracy. With an aria from the Goldmark concerto and the Hungarian dance of Brahms-Joachim she produced a great effect, which was heightened by the grace of her appearance.—Stuttgart Staats Anzeiger, November 3, 1904.
44The merit of the violinist, Otie Chew, her musical endowment, her refined conceptions and her decided technical ability were at once noticeable. She opened the concert with the sonata in D moll of Brahms, and was well prepared to give a convincing interpretation of this ingenious work. Later she was heard in Bach's sonata, No. 6, for violin alone. Bach's sonatas are always a test of the ability of violin players. The young artist stood the test well, the purity and the virtuosity of her playing stood her in good stead. With her last number, a Hungarian dance of Brahms-Joachim, she deepened the already favorable impression.—Stuttgart Swabische Kronik, November 3, 1904.
46Otie Chew proved herself to be a violinist of real merit. Particularly in the solo sonata of Bach did she give conclusive proof of her excellent training, her solid technic and her unusual ability. Her splendid performances, heightened by the graceful appearance of the young artist, won the player great applause.—Nurnberg General Anzeiger, November 2, 1904.
48In the Bach sonata Otie Chew gave decided evidence that it was a genuine artist with whom one had to deal. The customary impure tone production and uncertain bowing, both of which do not belong to the concert stage, were here happily avoided.—Nurnberg Frankischer Kurier, November 3, 1904.
50Otie Chew possesses an agreeable singing tone which is helped out by a very fine instrument, her passage work is clear, and her sure and elegant bowing must be unreservedly praised.—Nurnberg Nord Bayerische Zeitung, November 2, 1904.
52A REMARKABLE INVENTION.
54PIANISTS and musicians everywhere will be interested in the Hand Expander (Finger-Teckniker) for which E. B. Kursheedt has secured the patent rights. The well known pianist, Leopold Winkler, has persuaded Mr. Kursheedt to place this novel apparatus on the market for general sale. The Hand Expander has been used by some prominent virtuosi and students with the most gratifying results. It promises to revolutionize the practice of the keyboard for all pianists and students with small hands, for the reason that it dispenses with the former methods of stretching the ligaments. By the old methods small hands were frequently injured and often the most promising students were compelled to abandon the hope of becoming artists. This new device will, after systematic use, enable the smallest hands to acquire the technic that makes the virtuoso. Its daily use for a time will strengthen as well as expand the hands and fingers.
56Such an apparatus as the Hand Expander has long been sought and now Mr. Kursheedt has given the musical public a valuable thing. For children the Hand Expander will prove a great advantage. The progress of many small piano students has been retarded for years by the limitations of the reach of their hands. There are many adults, as well, who have lamented because their small hands made it impossible for them to attain the technical perfection they aspired to reach. Let these investigate the Hand Expander and learn its marvelous possibilities.
58But it is not only to pianists and piano students that the Hand Expander will prove a revelation. Violinists, 'cellists and all performers of string instruments will find it potent to aid them in overcoming some of nature's deficiencies. The apparatus is made of brass, heavily nickel plated and will last a lifetime.
60In New York it will be found on sale at Mr. Winkler's studio and in the leading music stores. Elsewhere it will be sold by music dealers.
62Ruegger's Remarkable Gifts.
64SPEAKING of Elsa Ruegger, the Belgian 'cellist, who is to tour the country again this season, under the direction of Loudon G. Charlton, a Chicago critic declared that she set a new standard for players of the violoncello. "One felt," he wrote, "the moment Miss Ruegger began to play, that she was conscious of her mastery of the instrument. The declamatory passages of Lalo's fine concerto, her opening number, were given with dramatic intensity, and the more showy passages were played easily and gracefully. Miss Ruegger produces a tone that is especially pleasing. Smooth, sonorous, rich, vibrant, it moves one strangely. There is tenderness, and a depth of feeling, too, in Miss Ruegger's touch, while her intonation is pure, and her phrasing musicianly."
66Van Hoose Is an American.
68FEW tenors in this country are better known, or are in more constant demand, than Ellison van Hoose, the American singer, who appears again this year under Loudon G. Charlton's direction. Mr. Van Hoose, who, by the way, is of American birth, despite the name, which shows his Dutch descent, sang in sixty concerts last season with Melba, and the tour now contemplated is to include most of the cities visited during that engagement. This will be welcome news to the many upon whom his virile, dramatic voice left so marked an impression. Mr. Van Hoose's repertory embraces a wide range of composers.
70Clubs Engaging Frieda Stender.
72FRIEDA STENDER, the soprano, met with great success singing in "Elijah" at the Chautauqua. Miss Stender is already engaged by many of the leading oratorio societies, and her prospects for a successful concert season are bright.
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