Scan 48
Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
83 lines. Read by computer on 24 September 2026. No printed page number was found. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1MILWAUKEE.
3Milwaukee, Wis., November 23, 1905.
5The past week was made notable by the appearance here of two no less distinguished artists than Jean Gerardy and Emma Eames, both lamentably, too, on the same evening.
7Gerardy played for the Deutscher Club and presented a brilliant program in a manner superlatively grand and stirring. It was especially interesting to hear his rendering of the Boellmann variations, the same which the great Hekking played here last season. Marx Oberndorfer, formerly of Milwaukee, now in Chicago, accompanied the great 'cellist, interpolating, too, a group of piano soli which were well rendered throughout and elicited high appreciation. Especially notable was the famous op. 1 gavotte and musette of d'Albert.
9The Alhambra Theatre was crowded to standing room only for Emma Eames and her very excellent company at the concert given under the auspices of the Arion Club. Madame Eames' assistants—Joseph Hollman, 'cellist; Emilio de Gogorza, baritone, and Amherst Webber, pianist—shared with her in very large measure the plaudits of the evening, winning instant and hearty recognition. The Arions and Cecilians rendered as a suitable closing number Gounod's "Gallia," the prima donna taking the solo part.
11The Arion Club announces the appearance under its auspices, on December 7, of Emma Calvé and her concert company. Calvé, with Nordica, Melba and Eames, makes the fourth great prima donna the Arions have presented to their patrons—a most commendable record of enterprise.
13There is a group of young Milwaukee musicians rising with a slow but firm, steady tread, the "Gradus ad Parnassum." They are a sort of second generation, but they have talent, all of them, with here and there a flash of the virtuoso, and they are being well trained. They will be heard in Berlin some day, and what is more, will be listened to as well.
15Eminent among these is Alice Stone, whose highly finished technic, coupled with high interpretive powers and the "individual note" that is almost the all in all, makes her playing always interesting and enjoyable. Miss Stone's piano program given at the studio of her teacher, Julius Klauser, Saturday evening last, was on the order of a trilogy, Schumann's "carnival" entire forming the first part, the seldom heard but interesting Beethoven sonata, the second and twelfth Chopin preludes, and the "Grand Valse" superbly played, the third group. Between groups two and three were interpolated by way of interlude, or "pause," if you will, Rameau, Tchaikowsky, Gluck-Sgambati and Liszt.
17Ella Smith and Josephine Holstein, pupils, also of Julius Klauser, will give recitals on the next two Saturday evenings, both pianists of high attainments and high ambitions.
19Milwaukee concert goers should be interested in the announcement of the piano and song recital to be given at the Athenaeum, December 5, by Sidney J. Silber, another Milwaukee pianist of commanding achievements and prospects, and Minnie Fish-Griffin, soprano, of Chicago. Madame Fish-Griffin, since her success here at the Saenger-fest of two summers ago, and other times as well, needs no introduction to Milwaukee audiences. Sidney Silber was a pupil here of Hans Bruening, and then studied for two years in Vienna, and from his teacher there he has many marks of esteem. Though connected with the Wisconsin College of Music as teacher of piano, Mr. Silber devotes the best part of his time in keeping up and building up repertory for concert work.
21The first number on the program to be presented is the d'Albert suite, op. 1, entire; the second, the eight numbers of the fantasy pieces, op. 12, of Schumann, and the third and closing group, the much punished because so very beautiful "Kamenoi-Ostrow, Portrait No. 22," by Anton Rubinstein, and the Liszt polonaise No. 2. Minnie Fish-Griffin's numbers will be of especial interest here, including as they do the "Song in March," by Eleanore Everett Freer, the Chicago composer, fast gaining ground; "Irmelin Rose," by Erich Wolf, and two songs by Hugo Kaun, "Der Abendthau" and "Zwei Strausse."
23Sidney Silber appeared also early in November before the College Endowment Association in company with Marguerite Easter in song, in a finely chosen program of ancient and classical selections.
25The prospects for a Milwaukee Auditorium grow brighter day by day, and we hope soon to have something definite and tangible to report. With Mayor Rose and the Merchants and Manufacturers' Association working with all their might in this direction, this statement will be seen to be well founded.
27An opera is to be given by amateurs under the auspices of the Milwaukee Press Club at the Pabst Theatre, December 7, 8 and 9. "Fisherman's Luck" is its title, and it is composed by Mather D. Kimball, of this city, the libretto being written by H. W. Harris, of Chicago. Rehearsals are going on under the direction of Ludwig Kreiss, of the Pabst Theatre Company, and W. H. Williamson, musical director. With Mrs. Louis Auer, a finished actress and singer, taking the leading part, the opera is sure to be a success.
29E. A. Stavrum.
31SAMAROFF'S BOSTON TRIUMPH.
33OLGA SAMAROFF gave her first recital in Boston at Steinert Hall Thursday afternoon of last week. Both public and critics manifested a warm interest in her appearance, and at the conclusion of the recital the admirers of the pianist voted the occasion a triumph for the artist. Two criticisms are appended:
35Olga Samaroff, who appeared here last season with the Symphony Quartet, gave her first recital here in Steinert Hall yesterday afternoon before an audience mildly enthusiastic and of more generous proportions than has been vouchsafed several of the soloists who have given recitals here this year. The selections were César Franck's prelude, chorale and fugue, which was played with admirable breadth of style and dignity; Brahms' "Capriccio," and his variations on a Paganini theme; a group of Chopin pieces and selections from Sgambati, Tchaikowsky and Wagner-Hutcheson. Madame Samaroff's range of dynamic power is really masculine at times and on account of the size of the hall had the work of her left hand been tempered by more moderation many of her fortissimo passages would have been clearer and the upper register playing better defined.
37She has a delightfully crisp staccato touch. In the pianissimo movements in the "Capriccio," the scherzo of the Chopin sonata, parts of the Brahms' variations and the "Humoresque" of Tchaikowsky, her skill in this branch of technic was of a high grade. But a great deal of her performance seemed lacking in warmth, and though the execution was generally satisfactory, there was little to awaken the emotions. In the minor pieces requiring digital facility and brilliancy Madame Samaroff's work deserves high commendation.—The Boston Globe, November 24, 1905.
39Olga Samaroff gave her first piano recital in Boston yesterday afternoon in Steinert Hall. There was a large and very applause audience. The program included César Franck's prelude, chorale and fugue; Brahms' "Capriccio," op. 76, No. 2, and variations on a theme by Paganini; Chopin's sonata, op. 58; nocturne, op. 15, No. 2; etudes, op. 25, Nos. 3 and 11; Sgambati's nocturne, Tchaikowsky's "Humoresque" and Hutcheson's transcription of "The Ride of the Valkyries."
41At the end of the last season Madame Samaroff played here at a concert of the Boston Symphony Quartet, and made a favorable impression by the grace and elegance of her technical proficiency. The piece itself, a 'cello sonata, by Saint-Saëns, did not call for any exhibition of deep feeling. Yesterday her program, a formidable one—and it was also too long—tested severely her equipment.
43Madame Samaroff has the elemental qualities of a distinguished pianist. She has unusual strength, and this she at times abuses, although in stormy passages her chords are, as a rule, both massive and sonorous, and there is little suggestion of crashing metal. She has a fine sense of rhythm. She sings the melody and does not poke or thump it. Her melody has a charming background and it is enwrapped in the appropriate atmosphere.
45She has a continuous legato in song passages. Her bravura is clean, crisp, and it has a peculiar elegance; it is warm; it does not remind one of hard polish on parlor furniture bought merely for display and not for use. This elegance seems inherent, not laboriously acquired. Furthermore, and best of all, there is a pronounced individuality in her interpretation, which is now serene and noble, now capricious, now dreamy or sensuous or passionate according to the mood of the composer. Add to this a charming personality that appeals to women and men alike, and a pleasing or a strange personality is a mighty factor in virtuoso success. Imagine a slim, beardless, sad eyed Pugno, with an air as though he were lord to a heritage of woe. Would he not with his great gifts as a pianist crowd halls?
47But Madame Samaroff, if she considers carefully her ways, will play much better two years from now. She will then play the sublimely beautiful work by César Franck with a still higher elevation of thought. She will then not be tempted to daily with detail at the risk of losing sight of the true and commanding lines of musical thought. She will then not take the largo in Chopin's sonata at so slow a pace that the melodic line almost breaks down from sheer fatigue, as was the case yesterday, when the slowness was disturbing, irritating.
49Madame Samaroff is now so much in earnest, so conscientious in the execution of her purpose that she cannot bear to leave a point unmade, and by this excessive care for detail her performance is occasionally labored, and the attention of the hearer is distracted from more important things, so much stress is laid on what is comparatively unimportant. She will yet play with greater breadth, freedom, spontaneity after she has learned to let the hearer take some things for granted.
51As she is now, she is a pianist who gives much pleasure, and we know of no woman of her age who gives such reasonable promise of a brilliant future. For in the midst of a crowd of highly respectable females with well developed fingers and a respect for orthodox traditions, here is a woman with emotions and with a soul.—The Boston Herald, November 24, 1905.
53FELIX HUGHES BARITONE.
54RECITAL, CONCERT, ORATORIO.
55Apply to ADELLA PRENTISS HUGHES, 122 Euclid Avenue, CLEVELAND, OHIO
57CHARLES E. CLEMENS,
58ORGANIST.
59166 Euclid Avenue, Cleveland, O
61LOUIS KAPP
62Violin Instruction, Advanced Pupils only
63Ensemble Lessons, Violin and Piano
64129 West 12th St., NEW YORK
66J. VAN BROEKHOVEN
67VOICE CULTURE
68Author of the Van Broekhoven new vocal method.
69Obtains the greatest extension of vocal range; greatest volume and greatest ease of tone production. Highest professional endorsements. Special teachers' course. Send for circular or pamphlet.
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72EDMUND J. MYER
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76Summer Term at Round Lake, N. Y., near Saratoga
77Concert Direction AD. HENN
78EUROPE'S GREATEST MUSICAL BUREAU.
79GENEVA (Switzerland).
80Cable Address: HENN, Geneva.
81Engagements with Musical Societies. Concerts and Tours arranged. Agencies undertaken.
82Concert Calendar for 1905-6 sent gratis and post free on application
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