Scan 12
Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
108 lines. Read by computer on 24 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1finds a vital economy of time in beginning with Madame von Klenner, as mistakes are corrected at the outset, which might later cost the pupil years of work.
3The program follows:
5Trio—The Chorister ………………………………………….. Sullivan
6Misses Welker, Wade and Noble.
7Die Lotusblume ………………………………………………… Schumann
8Rosy Morn ……………………………………………………….. Ronald
9My Heart is Singing ………………………………………….. Gertrude Sans Souci
10Le Reveil ……………………………………………………….. Wekerlin
11Napoli ……………………………………………………….. Mrs. J. F. Garrison.
12Ouvre tes yeux bleus ……………………………………… Massenet
13Pourquoi, rester Scoulette ………………………………. Saint-Saëns
14The Minor Chord …………………………………………….. Mager
15Good Night ……………………………………………………. Nevin
16When I Know That Thou Art With Me ………………… Abt
17Miss Wade and George Brengel.
18Widmung ……………………………………………………….. Schumann
19Rose Softly Blooming ……………………………………… Spohr
20Trios—
21My Native Land …………………………………………….. Lassen
22Spring Song ……………………………………………………. Weil
23Aria—Carmen ………………………………………………… Bizet
24Greeting ……………………………………………………….. Hawley
25Frühlingsnacht ………………………………………………. Bohm
26Les Cavaliers ………………………………………………… Brahms-Viardot
27Minuet ……………………………………………………….. Boccherini
28Je suis Titania—Mignon …………………………………. Proch
29Theme and Variations ……………………………………… Proch
30Lillie May Welker.
32While it was not my intention to mention any particular number from the program, yet I feel that justice would hardly be done either teacher or pupil did I fail to mention the excellent rendition of a most difficult "Theme and Variations," by Lillie May Welker. Her voice retained a remarkably pure, smooth tone throughout the difficult passages, a result which could only be possible through a correct teaching of a perfect method.
34ULA L. BASS,
35(Mrs. James Madison Bass)
36President of the Texas Woman's Press Association.
38F. C. Goldsborough's Playing.
40HERE are some Berlin press notices of the young American violinist, Goldsborough:
42Mr. Goldsborough charmed with his beautiful tone and soulful interpretations.—National Zeitung.
44The style in which he played his program gave evidence of no little talent. The tone is agreeable, the passage work flowing and the cantabile soulful.—Berliner Morgenpost.
46Played the Tchaikowsky concerto with a strong tone, and energetic style of bowing, and not without a certain temperamental swing in the interpretation.—Berliner Börsen Zeitung.
48A truly able violinist with a respectable amount of technical knowledge to his credit. He distinguished himself by his warm and great cantabile.—Vossische Zeitung.
50Showed by his playing of Bruch's G minor concerto that he has already in his possession an important amount of technical finish. He also produced in the adagio a soft and pleasing tone.—Berliner Börsen Courier.
52Succeeded in his endeavor to justly interpret the compositions he played.—Freie Deutsche Presse.
54Made an excellent impression. Has a very facile and quick lift of hand, and a fleet bow arm. He also has dash and go. In the Ries suite in G he displayed much variety of style. He draws a beautiful tone of considerable volume and penetrating power. I have seldom heard the "Perpetual Motion" played with such a terrific tempo. Personally I prefer it somewhat slower, but played as it was by him it cannot fail to produce a big effect.—Berlin Correspondence of Musical Courier.
56CARL'S ORGAN CONCERT.
58A CHOIR of trombones from the New York Philharmonic Orchestra, and Rollie Borden-Low, soprano, assisted William C. Carl at the organ concert in the "Old First" Presbyterian Church, Tuesday night of last week. It was the second in the series for this autumn and the 113th organ concert that Mr. Carl has given in that historic church. The trombone players performed five of the old German chorales that are used by the Moravians at Bethlehem, Pa., when a sister or brother of the sect passes away. Even in death the religion of these remarkable Christians has a beauty that must fill the mourners with comfort and help them to catch a glimpse of the veil that separates the material world from what is beyond. Besides the funeral chorales, the trombonists played Luther's impressive "A Mighty Fortress is Our God" and an ancient chorale performed Easter mornings.
60Mrs. Low sang a recitative and aria from Gluck's "Alceste," which was arranged for her by Prof. Julius Hey, with whom Mrs. Low studied the past two summers. The singer phrased the music beautifully and sang throughout with the authority of an artist. This number is so difficult that only the musician is enabled to grasp the complexities of the score.
62Mr. Carl's part in the evening was masterly, and, as usual, he gave the listeners that variety that relieves an organ concert of monotony. The "Pastorale," by Klein, arranged by Mr. Carl, is truly descriptive of an ideal spot in nature. The "Fantaisie," by Saint-Saëns showed what a virtuoso can perform with "quick" music at the organ. The wedding music by Dubois was charming, and after hearing it one wonders why church organists continue to give us hackneyed numbers at the nuptial ceremony. The Guilman "Morceau Symphonique," for trombone and organ, was another number that was worth hearing and worthy of repetition. The concert was impressively closed with the finale from the "Easter" concerto, by Fischer, arranged for the trombone and organ. Mr. Carl never played better, and in his endeavor to make these concerts educational, once more addressed the congregation and described the old music used by the Moravians in the quaint town of Bethlehem, Pa., where the Bach Festivals have been held. It is in this work that Mr. Carl is doing a real service to the community. Unfortunately, there is not room in the church for all the people who would attend these interesting evenings. Tuesday night many stood throughout the concert. one of two readings
63Mr. Carl's part in the evening was masterly, and, as usual, he gave the listeners that variety that relieves an organ concert of monotony. The "Pastorale," by Klein, arranged by Mr. Carl, is truly descriptive of an ideal spot in nature. The "Fantaisie," by Saint-Saëns showed what a virtuoso can perform with "quick" music at the organ. The wedding music by Dubois was charming, and after hearing it one wonders why church organists continue to give us hackneyed numbers at the nuptial ceremony. The Guilmant "Morceau Symphonique," for trombone and organ, was another number that was worth hearing and worthy of repetition. The concert was impressively closed with the finale from the "Easter" concerto, by Fischer, arranged for the trombone and organ. Mr. Carl never played better, and in his endeavor to make these concerts educational, once more addressed the congregation and described the old music used by the Moravians in the quaint town of Bethlehem, Pa., where the Bach Festivals have been held. It is in this work that Mr. Carl is doing a real service to the community. Unfortunately, there is not room in the church for all the people who would attend these interesting evenings. Tuesday night many stood throughout the concert. one of two readings
65Last evening at the third concert Mr. Carl was assisted by Kathrin Hilke, soprano, and Albert Gregorowich Janpolski, baritone.
67The program is reproduced herewith.
69Rive-King's Chopin Recital.
71JULIE RIVE-KING is giving Chopin recitals this season, and there is a demand for this celebrated artist from clubs everywhere. Another criticism is appended:
73At last a Chopin player! From myriads of pianists of both sexes, who, animated by the conceit of being Chopin interpreters, annually make unsafe the concert rooms with their diluted and sentimental nocturnes, ballades and waltzes, Madame Rive-King appears plastically as an artist of the very first rank. I seldom have met with an artist in the concert room whose individuality is more sharply outlined. In the same class I might name Carrefé, but where she frequently gives free rein to her temperament, Madame Rive-King's playing breathes classic repose and nobility, notwithstanding the grandeur of conception and fierceness of enthusiasm. Of sentimentality, not a trace! I can well understand that Theodore Thomas again and again invited such an artist to cooperate with him in his concerts. Her playing exactly met his demands regarding rhythm and nobility of conception, not to mention technical ability. But what an enormous finish there is in the technic of this woman! What astounding certainty and power in her runs of scales, thirds and octaves! Arpeggios of ravishing tonal beauty, staccatos as though chiseled in marble, legatos of entrancing sweetness, magnificent treatment of the pedals, a wonderful singing tone. I find it difficult to supply words in which to do justice to the enormous abilities of this pianist.
75The program was one of unusual richness. The F minor fantasia by Chopin was followed by two familiar nocturnes—F sharp and G major—whose poetic beauty in so finished a form produced an electrical effect. Then followed the ballade in A flat and the C sharp minor scherzo—really heroic achievements, accentuated rhythm and noble conception—followed by the berceuse, as response to an encore to this Chopin cycle. Later there followed a series of modern selections of a virtuoso character—a charming and graceful composition by the artist, and entitled, "Bubbling Spring"; a transcription of Strauss' waltz, "Vienna Bonbons"; two novelties, Debussy's "Arabesque" and Poldini's "Mignonne"; all piano pieces which displayed the virtuoso achievements of the performer in brightest rays. And, lastly, a third division of piano compositions, of which I select as especially finished and successful the Saint-Saëns' transcriptions of Gluck's "Alceste" fragment, and the d'Albert Garolte and Musette.
77It is permitted a few artists to return to the concert room in the fullness of their strength after a musical silence of some years. Madame Rive-King is one of the eminent exceptions, and all who shared with me the privilege of listening to her cannot fail to join me in the hope that this artist, now that she has returned to public life, may be permitted to long retain her position.—Milwaukee Herald, October 25, 1905. (Translation.)
79Pugno's Second Recital.
81YESTERDAY afternoon (Tuesday, November 28), Raoul Pugno gave his second recital in Mendelssohn Hall. The French pianist played the following numbers:
82Sonate, D minor, op. 31, No. 2 ……………………. Beethoven
83Sonate, C sharp, minor …………………………………. Beethoven
84Faschingschwank aus Wien, op. 26 ………………… Schumann
85Fantasie, C major, op. 15 …………………………… Schubert
87F. de FAYE-JOZIN
88Officier de l'Instruction Publique
89Premier Prix du Conservatoire de Paris
90Author of "Evening Bells"—poem with musical setting—(Schirmer, N. Y.); Pièces pittoresques; Berceuse, etc.
91LESSONS IN PIANO AND COMPOSITION
92117 Rue St Lazare, PARIS, FRANCE
94FRANK KING CLARK
9528 Rue de Ponthieu, PARIS.
96Singing, Acting, Repertoire
97WITH THE COLLABORATION OF
98PAUL STUART, de l'Opéra Comique.
99WALTHER STRARAM, Chef de Chant des Concerts Lamoureux
100SOLOIST
101WITH
102THE BOSTON SYMPHONY
103PHILADELPHIA ORCHESTRA
104ST. LOUIS SYMPHONY SOCIETY
105PHILHARMONIC SOCIETY
106RESS QUARTETTE
107Steinway Hall, New York
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