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Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
95 lines. Read by computer on 24 September 2026. No printed page number was found. See the scan on archive.org.
1ELSA RUEGGER'S EUROPEAN NOTICES.
3THE notices which Elsa Ruegger, the Belgian 'cellist, who is to make an American tour this season under Loudon G. Charlton's direction, has been receiving of late in the leading European journals indicate how securely this talented artist is established abroad. In this country Mlle. Ruegger is well known, two previous tours having served to bring her recognition as one of the greatest of women 'cellists. The following criticisms bear witness to her recent triumphs:
5Miss Ruegger's success was not only enormous, but vibrated with sincerity. Each variation of the Boccherini sonata was received with a general murmur of admiration. This young artist possesses in the highest degree all the qualities which go to make up the real virtuoso, a pure tone, firm and elegant bowing, excellent style and an irreproachable intonation.—La Epoca, Madrid, November 23, 1905.
7Miss Ruegger played, with Madame Kleeberg, Saint-Saëns' sonata in C minor. Her tone is most sympathetic, her intonation perfect, her technic sure and flowing, her diction correct and her art exquisite. All these qualities will assure her an unfailing, progressive artistic career. Withal she has a delicate, sensitive, feminine temperament, which, however, is not lacking in greatness or dramatic power. Her success was from the very beginning, sincere, undisputable and well deserved.—La Epoca, Madrid, December 12.
9Miss Ruegger, though practically at the beginning of life, already appears as a thoroughly matured artist. The quality of the tone she draws from the instrument is, at the same time, both delicate and vibrant. Her intonation is absolutely perfect, and her technic allows her to attack the most difficult passages with the greatest security. The tone quality of her high notes is truly admirable. It is well known that the tendency of the 'cello is to produce a certain shrillness in its high tones, an effect which produces a most painful impression that can only be avoided by the supreme art of its performer. Not only does Miss Ruegger make the listener forget this, but under the bow the melody appears full of sweetness, passion and poetry.—Diario Universal, Madrid, December 2.
11Miss Ruegger performed the De Swert concerto, a work of great difficulty, and one which again demonstrated the qualities of the illustrious virtuoso. Execution of the very first rank, ideal intonation, splendid bowing, large tone, all these qualities prove to us that Miss Ruegger is one of the most remarkable artists we have ever heard. Obliged to respond to an encore she played Schumann's "Traumerei" in a way that aroused a tremendous ovation.—Diario de Noticias, Lisbourne.
13One must admire the way in which Miss Ruegger performed the De Swert concerto, a work teeming with difficulties, but which the 'cellist executed with a remarkable purity of intonation. Schumann's "Traumerei" transported us into the realm of dreams. We have seldom heard this well known morceau so ideally interpreted.—Diario Illustrado, Lisbourne.
15The second part of the concert was awaited with great expectation, as the public was most anxious to hear Miss Ruegger. She pleased extraordinarily. Her art is truly admirable, her bowing of exceptional power and expression, and she plays her instrument with overpowering mastery, producing enchanting tones and effects. Called and recalled by the unceasing applause of the audience, she was obliged to add to the program the "Traumerei," by Schumann, which she played with her whole soul in a most remarkable manner.—El Noveste, La Coruña.
17In following the exact order of the program we mention Miss Ruegger last, but one may here truly say, "the last shall be first," as first above all is this "diva" of the 'cello. We could not believe that such a difficult instrument could render such an amount of tone, or could be played with such finished phrasing, such absolute mastery of the bow. We do not believe that Miss Ruegger's art can be surpassed. The wild ovation, which the immense audience gave her, won for us an andante by Schumann.—Fierra Gallega, La Coruña.
19Miss Ruegger is an artist who absorbs the very soul of the masters, follows step by step their different moods, penetrates them and then expresses them, brightened by the splendor of her genius. "Povera Pellegrina," by Scarlatti; "Andacht" and a "Tarantelle," by Popper, were interpreted masterfully and with rare purity. This young artist draws from her 'cello tones full of majesty and elegance, rich, flowing cadenzas, a sonority now delicate in shade, now strong and vigorous. The immense audience showed Miss Ruegger its admiration in applauding frantically, and forcing her to respond to an encore which constituted a veritable "tour de force" of mechanism and feeling.—La bo de Galicia.
21CLAVIER PIANO STUDY A SUCCESS.
23WASHINGTON, November 26, 1905.
25GEORGIA E. MILLER, head of this school in Washington, D. C., is rejoicing over a brilliant exposition of piano training values, seen in her concert this week at the Congressional Library.
27One of the largest companies of people, musicians and others, ever assembled in the historic building to hear a concert, was present, and applauded enthusiastically work done by Lyle Demarest, a direct exponent of Miss Miller's teaching of the Virgil system, and Irene Dietrich, a young singer.
29Miss Demarest played Chopin preludes 23 and 16, op. 28; etude, op. 25, No. 2; Schuett's "à la Bien Aimée"; a valse by Nicholas Rubinstein, and a MacDowell polonaise. For Miss Dietrich's work see next week.
31The senior class of Miss Miller's Virgil school gave a recital at the school also this week. A most commendable feature of the work was the playing from memory of all the music. Memory training is one of the features of the work of the school, and this example of what can be done was a strong reproof as to what other teachers, vocal and instrumental, do not do.
33"Valse Lente," Schuett; Chopin valses E minor and op. 34, No. 1; Grieg's "Humoresque," Chopin's Prelude No. 7 and mazurkas A and B and G minor; MacDowell's "Wild Rose," "Indian Lodge," "Floating Icebergs" and "Water Lilies," and Schumann's "Grillen" were played. Katherine May Brooks, already a favorite pianist; Katherine Silliman, Jessie Sams, Alice Cheshire, Louise Donnelly and Grace B. Stratton were the performers. The next of these recitals will be given on December 15. All parents in doubt as to the value of beginning piano study in a systematic and logical manner, in place of the haphazard and upside down methods, will do well to attend this coming Virgil-Miller affair.
35HERMANN KLEIN
36THE ART OF SINGING.
37(GARCIA-DERESZKE METHOD)
38Studio, 154 WEST 77th STREET, NEW YORK
40MUSIC AT THE INSTALLATION.
42MUSIC and oratory were the accompaniments at the annual installation of officers at the meeting of the New York Woman's Press Club, held Saturday afternoon of last week at the Waldorf-Astoria. Madame Evans von Klenner, chairman of entertainment for eight years, gracefully resigned her post and as a parting tribute presented a musical program that equalled a good concert, and as one just listener remarked, "was too good as a free entertainment."
44Lillie May Welker, an aspirant for grand opera from the Von Klenner School of Singing, sang with the skill of a full fledged prima donna the old coloratura song, "Voce di Primavera," by Strauss. Two duets, "Venetian Boat Song," by Blumenthal, and "Oh, Moment That I Bless," by Dennee, were sung by Miss Welker and Helene S. Wade, a mezzo-soprano from Florida, and another beautiful exponent of the Von Klenner method. Miss Wade, who has a voice as rich and warm as the rarest thrush, also sang in the charming duet, "Calm as the Night," by Goetze, with Arthur King Barnes, a bass-baritone, and an artist with a voice of noble quality. For his solo numbers Mr. Barnes sang "Dio Possente," from "Faust," and "Because," by d'Hardelot.
46With characteristic inconsistency, the campaign committee put up only one ticket, and hence the election was "a walkover" for everybody.
48"It's all wrong and unparliamentary," one timid member whispered, "but you see we did not wish to hurt anyone's feelings." The Rev. Phebe A. Hanaford was re-elected president. She is not a newspaper woman. It would require a powerful magnifying glass to discover a regular writer for the press on the ticket elected and duly installed:
50Second Vice-President—Mrs. Caroline M. Morse.
51Third Vice-President—Baroness Leslie de Bazus.
52Fourth Vice-President—Mrs. Ettie Henderson.
53Fifth Vice-President—Mrs. Edward Balbach.
54Corresponding Secretary—Miss Mary Garrett Hay.
55Treasurer—Mrs. Mary E. Faulkner.
56Auditor—Mrs. Christina J. Higley.
57Third Member Executive Committee—Mrs. Clara Spalding Ellis.
58Fourth Member Executive Committee—Mrs. Edward Lee Young.
59Hostess—Mrs. H. Herbert Knowles.
60Chairman Committee on Entertainment—Miss Lillie d'Angelo Bergh.
61Chairman Committee on Literature and Journalism—Mrs. Haryot-Holt Dey.
62Chairman Committee on Art—Mrs. Izora Chandler.
63Chairman Committee on Progress—
64Chairman Committee on Current Topics—Miss Elizabeth Brenton.
65Chairman Committee on Education for Citizenship—Mrs. Herbert Turrell.
66Chairman Reception Committee—Miss Edyth Totten.
67Chairman Committee on Legal Interests of Women—Miss Jessie A. Fowler.
69The order of the program that preceded the installation was as follows:
70Duet, Calm as the Night………………………………………Goetze
71Address………………Helen S. Wade and Mr. Barnes.
72Address………………Mrs. Charlotte B. Wilbour, President of Sorosis
73Address ………………Rev. Antoinette Brown Blackwell
74Address ………………Rev. Phebe A. Hanaford
75Soprano Solo, Voce di Primavera……………………………Strauss
76Lillie May Welker.
77Address ………………Alcide Ebray, Consul General de France
78Bass Solo, Dio Possente………………………………………Gounod
79Because …………………………………………………D'Hardelot
80Arthur King Barnes.
81Address….Alexandre T. Mason, President de l'Alliance Française
82Duets—
83Venetian Boat Song………………………………………Blumenthal
84Oh Moment That I Bless…………………………………….Dennee
85Misses Welker and Wade.
87FIRST AMERICAN TOUR, 1905—1906
88OTIE CHEW
89VIOLINIST
90Made Her Debut as Soloist in the New York Philharmonic Society
91Pianist and Accompanist, GEORGES LAUWERYNS
92STEINWAY PIANO
93Exclusive Management MARY L. WEBB
944 WEST 92D STREET, NEW YORK
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