Scan 51
Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
67 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.
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.
1BOSTON.
3HOTEL NOTTINGHAM, COPLEY SQUARE,
4BOSTON, November 26, 1905.
6PIANISTIC attractions have ruled unusually strong in Boston during the past week; in fact, it seldom happens that a trinity of noted black and white keyboard exponents manage, or "are managed," to come to perform upon their instruments of the triple legged grand specie in such rapid succession. The fact is, Boston, in spite of its coveted reputation for holding remarkable tastes for things musical, is not an ideal matinee recital town, and an artist must be glorified with many stratas of foreign reputations, elongated hair and unpronounceable surnames if he or she hopes to draw a good sized recital audience in the New England metropolis, that is, generally speaking. This statement may and may not have some bearing upon the status of the three piano recitals played in Boston during the past several days, only one of which served to draw a generous box office showing. It is not necessary or fair to to the individual performers to enlarge in this little treatise upon facts pertaining to the specific volume of attendance, because each pianist who played here last week was a foremost artist in their respective lines of style and interpretive capacity. Because a pianist does not happen to draw a large house in Boston, such fact in nowise signifies a lack of equipment on the part of a player; it rather demonstrates a lack of appreciation on the part of many of those "musical Bostonians" who are "filled with an inherent love for classical melody recitals" (?). Boston has a large army of piano and violin students, yea, perhaps more than has any other city in America in proportion to population, while the so called lovers and supporters of the best musical literature—well, their name is legion. Where are even a fair representation of all these piano students and music lovers when a truly genuine exponent of their very line of study comes to Boston? Ah, yes, perchance they are too busy, one class being studiously engaged at some new composition, and the other either out shopping or attending an afternoon tea. The writer holds no malice in his heart toward musical Boston, but it does seem as though the truth should be spoken and attention drawn to the unfortunate fact that Boston, filled as it is with a musical element, has at the same time many followers of St. Cecelia who miss many fine opportunities of hearing the best recital and chamber music programs because of their non-attendance and support of such.
8And now to take up the noted pianists heard in Boston during the week, we will consider them in the order of their appearances. Augusta Cottlow was heard at Steinert Hall on Tuesday afternoon, in the following interesting program:
10Chaconne for the Violin………………………………………Bach
11(Arranged for the Piano by Ferruccio Busoni.)
12Sonata, D major, op. 28………………………………………Beethoven
13Romanza, F major, op. 118, No. 5……………………………Brahms
14Scherzo a Capriccio…………………………………………..Mendelssohn
15Nocturne, D flat major, op. 72, No. 2………………………..Chopin
16Polonaise, F sharp minor, op. 44…………………………..Chopin
17Prelude, C sharp minor, op. 3, No. 2………………………..Rachmaninoff
18Rigaudon, op. 204, No. 3…………………………………….Raff one of two readings
19Rigaudon, op. 204, No. 3……………………………………Raff one of two readings
20Sposalizio (Armes de Pelerinage, Italie), Mephisto Walzer…Liszt
22Augusta Cottlow is too well known to require a special critique of her mode of production, but suffice it to say that she fully pleased a regulation fastidious gathering of critical tastes at Steinert Hall.
24Raoul Pugno was heard in his second Boston piano recital at Jordan Hall on Wednesday afternoon, and his masterly playing of the following numbers only served to more tightly clamp the fine impression made at his initial recital of the week before in Boston. It is not within the province of the writer to criticise M. Pugno's work in Boston, inasmuch as this department has already been given attention by THE MUSICAL COURIER on his New York city recitals. However, it is in order to state that this French pianist captured both the musical people and the Boston daily press critics, and this is saying much, indeed. His program was:
26Prelude, Choral et Fugue……………………………César Franck
27Faschingschwank aus Wien, op. 26………………………..Schumann
28Ballade, G minor…………………………………………..Chopin
29Nocturne, E major…………………………………………Chopin one of two readings
30Nocturne, E major………………………………………..Chopin one of two readings
31Impromptu Posthume………………………………………Chopin
32Polonaise, op. 22, E flat………………………………….Chopin
33Nocturne, D flat major, op. 36……………………………Fauré
34Helvetia Valse, No. 3………………………………………D'Indy
35Serenade à la Lune………………………………………….R. Pugno one of two readings
36Serenade à la Lune……………………………………….R. Pugno one of two readings
37Rhapsodie…………………………………………………….Liszt one of two readings
38Rhapsodie……………………………………………………Liszt one of two readings
40Olga Samaroff made her first individual appearance in Boston as a piano soloist at Steinert Hall Thursday afternoon, and her reception was flattering. Madame Samaroff was heard here last season at a concert of the Boston Symphony Quartet, and she then made a favorable impression in a sonata for piano and 'cello, but she did not have an opportunity to display emotional qualities that characterize her solo work. She aroused her hearers to a point bordering nigh onto demonstration, and every member of the audience was congratulating his neighbor upon being there, or smiling with approval at an acquaintance spied on the other side of the hall. Even Philip Hale, the musical critic of the Boston Herald, was noticed to keep his seat throughout the big program, and this American girl artist with a Russian name so completely brought musical Boston to her shrine as to insure for her a genuine ovation when she is next heard here in April with the Boston Symphony Orchestra. Here are the numbers which were magnificently played by Madame Samaroff:
42Prelude, Chorale and Fugue……………………………César Franck
43Capriccio, op. 76, No. 2………………………………….Brahms
44Variations on a Theme of Paganini………………………..Brahms
45Sonate, op. 58…………………………………………….Chopin
46Nocturne, op. 15, No. 2………………………………….Chopin
47Etudes, op. 25, Nos. 3 and 11……………………………Chopin
48Notturno…………………………………………………….Sgambati
49Humoresque……………………………………………….Tschaikowsky
50Walkürenritt……………………………………………….Wagner-Hutcheson
52Gertrude Franklin is one of the busy vocal teachers of Boston, and she has entered upon an active season in her studio at 246 Huntington avenue, opposite Symphony Hall. Madame Franklin makes these announcements relative to the prominent part being taken in things musical by several of her pupils: Mrs. Guckenberger, contralto, has been engaged at the Commonwealth Avenue Baptist Church, Boston, beginning December 1; Miss Sundborg will sing at Steinert Hall, Boston, December 10; Helen Allen Hunt will appear in a song recital at Bradford on December 6, at Andover on December 7 and in Mendelssohn's "Elijah" (place not yet named), with Emil Mollenhauer, on December 15. Mrs. Hunt will also appear in a song recital at Weymouth, December 18. This talented pupil of Madame Franklin devotes four days of each week to teaching, and she sings at three services every Sunday in the Christian Science Church, Boston.
54Carl Faelten, pianist, and the Boston Symphony Quartet gave the first concert of a series of "artist course" recitals at Huntington Chambers Hall last Thursday evening before a most appreciative audience. The artist course will be held in connection with the Faelten Piano School during the winter. The musical program was preceded by some preliminary remarks by Mrs. Reinhold Faelten, whose portion of the evening's entertainment was a feature. The following program was delightfully and smoothly performed by Mr. Faelten and his assistants, Willy Hess, first violin; Otto Roth, second violin; Emile Ferir, viola, and Heinrich Warnke, 'cello:
56Quartet for Piano, Violin, Viola and Violoncello, G minor.Mozart
57Quartet for Two Violins, Viola and Violoncello, B flat major, op. 18, No. 6………………………………………Beethoven
58Quintet for Piano, Two Violins, Viola and Violoncello, E flat major, op. 44………………………………………Schumann
60Relative to the Faelten Piano School, this institution was favored with a visit during the past week from Hugo Heermann, the eminent German violinist and soloist, at last Friday afternoon and Saturday evening's concerts of the Boston Symphony Orchestra. Mr. Heermann inspected the Faelten school and was deeply impressed with the thoroughness of the work prescribed and performed in the various classes, such as the playing of pieces in all keys. This was deemed remarkable by the noted violinist. A practical exhibition of skill was also given by a number of solo players of the school.
62A recital was given at the William L. Whitney International School of Music last week by Mrs. Stevens, soprano, who scored a success for artistic acquittal of an interesting program.
64Rossini's "Stabat Mater" will be given under the auspices of the Cantabrigia Club in the First Unitarian Church of Cambridge on Monday evening, November 27. The soloists will be Mrs. Lister, soprano; Edith Castle, contralto, both of the Piedmont Church, Worcester; Mr. Murphy, tenor, of the Immaculate Conception Cathedral, Boston; Mr. Chequer, bass, of All Souls' Church, and J. D. Comey, organist of the Commonwealth Avenue Baptist Church in Boston.
66Harold Bauer gives a piano recital at Jordan Hall on Monday afternoon, November 27, and the interest manifested in the event seems indicative of a large and enthusiastic audience for this artist, who is a great favorite in Boston. Mr. Bauer will resume his piano teaching during the coming week at the Wm. L. Whitney International
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