Scan 5
Musical Courier 1906-06-13: Vol 52 Iss 1368, 1906
92 lines. Read by computer on 23 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.
1ner played some violin selections with creditable taste and skill.
3After months of farewell bidding to the Berlin public—after a final concert, in which the audience was literally tense with emotion at the thought of losing its Weingartner—the cup has slipped from the great conductor's lip. The management of the Opera concerts has refused to annul his contract, and will or nil, the genius of the baton must remain with us until the expiration of his term. The management writes as follows in answer to Weingartner's request for release:
5"The Royal General Intendatur and committee cannot conform with the wish of the Royal Orchestra leader, Felix Weingartner, to be released from the directorship of the symphony concerts of the Royal Orchestra. Herr Weingartner's contract, therefore, remains unaltered in force until further action."
7It seems too bad that Weingartner cannot be free to follow out the wish of his heart. But "it's an ill wind" if he has to stay; we still have him to hear. There is no music lover in Berlin who will not rejoice sincerely over the retention of Weingartner, and the continuation of his Symphony programs.
9Mascagni's new opera, "Amica," has just achieved a notable success at its German première in Cologne. The work is said to show a great advance on the operas written by the young Italian since "Cavalleria Rusticana."
11A new symphony by Heinrich XXIV, Prince of the younger line of Reuss, recently scored a big success at one of the Singakademie concerts in Halle. The work is said to reveal fine thought and workmanship, especially in the first and third movements.
13A monument to the Norwegian composer, Richard Nordraak, was lately unveiled in the presence of Björnson, who gave the dedicatory address. The death of this gifted young composer occurred forty years ago, and it is strange that a monument to him should have been so tardily erected. It was very fitting, however, that when honors were done the young Norwegian, Björnson should deliver the address, for Nordraak set the poet's "Maria Stuart in Scotland" to music, and to music which justified the highest hopes for his future. Unfortunately Nordraak died here in Berlin at the age of twenty-four, while pursuing his study of piano with Kullak, and composition with Friedrich Kiel. No less a personage than Edward Grieg held the young composer in high esteem. After a short but intimate conversation with Nordraak, he wrote: "It was as if scales fell from my eyes. It was through him that I first learned to appreciate Northern folksong and my own nature. We two swore allegiance against the weakly Scandinavianism of Gade, with its tinge of Mendelssohn, and enthusiastically struck out into the new path upon which the Northern school finds itself today."
15Festivals in honor of Mozart's one hundred and fiftieth birthday have naturally fallen somewhat into abeyance, but the good people of Salzburg still have up their sleeves a big Mozart "Feier" which they are proposing to give from August 14 to August 20. The festival will include two big concerts, one each under the direction of Felix Mottl and Carl Muck, and two operatic performances. The first opera given will be "Don Juan," in Lilli Lehmann's special festival version. Besides the famous diva, Geraldine Farrar, Francesco d'Andrade and Wilma Viliani will be in the cast, and Reynaldo Hahn, of Paris, will conduct. The second opera to be presented is "The Marriage of Figaro," which will be performed by the personnel of the Vienna Opera, under the direction of Gustav Mahler.
17Wilhelm Heyer, who already has donated to the Cologne Conservatory his own set of old musical instruments, together with one of the Dewit collections, which had passed into his hands, has now bestowed upon the same institution a great and priceless number of autographs. The collection includes over one thousand autograph letters written by famous composers, conductors, singers, instrumentalists, and patrons of art, among the last named a number of original letters from many a Maccenas of princely rank. The instrument collection contains about two hundred and eighty keyed instruments, eighty-three of which, from the sixteenth to the nineteenth century, are provided with the original trademarks of the manufacturers. A fine museum now in process of erection will eventually receive all of these treasures.
19The first Baden music festival will occupy three full days, June 9, 10 and 11. The first day is dedicated to Brahms, and save Weber's "Freischütz" overture and Humperdinck's "Wallfahrt nach Kevelaer," (ballade for mixed chorus, soli and orchestral), the program will offer works by no other composer. On Sunday, June 10, a Beethoven Abend will take place. On Monday a modern program will be given under the direction of Richard Strauss, comprising the following numbers: Berlioz's "Roman Carnival," an overture baritone aria from d'Indy's opera "L'Etranger"; Liszt's "Les Preludes," Strauss' "Till Eulenspiegel," Wagner's "Meistersinger" overture, Isolde's "Liebestod" (for soprano), and a duet from Strauss' "Feuernot" (for soprano and baritone). The soloists will be Frau Fleischer-Edel, soprano; Julia Culp, alto; Ludwig Hess, tenor; Henri Albers, baritone; Ferruccio Busoni, piano, and Fritz Kreisler, violin.
21The Leipzic municipality has voted 15,000 marks for the erection of a Bach monument before the Thomas Kirche, the church in which the grand old cantor formerly officiated.
23Edouard Risler, the Parisian pianist, proposes to play all of the thirty-two Beethoven sonatas here next season. This is looked upon as a herculean undertaking. Indeed when Risler played thirteen of the master's sonatas here last winter it was considered a remarkable feat of memory.
25Moriz Rosenthal, however, has a memory beside which Risler's pales into insignificance. During his memorable series of Berlin concerts in the season of 1904-1905 I once spent the evening with him alone. After supper he sat down at the piano, and being in a reminiscent mood, began to play the Chopin A flat ballade. He played it straight through with the absolute perfection for which he is noted, and then told me that he had not touched it for five years. Astonished at this I asked him whether he ever forgot a piece he had once memorized. "No," he said, and asked me whether it would interest me to test him in a feat of memory. I said it would interest me very much indeed. Rosenthal went on: "Would you believe, for instance, that I can play the entire Chopin from memory?" "Such a thing would certainly seem impossible to me," said I. Then Rosenthal brought out the complete works of Chopin in three volumes (the Klindworth edition), and laying them on the table, he said: "Take any one bar in any piece you choose, and cover up the rest with books and papers so that I can see only that one bar, and I will not only immediately tell you the name of the piece, but I will sit down at the piano and play the piece beginning with that bar."
27As the first test I selected a measure from the seldom-played C minor sonata. Rosenthal immediately recognized the work, named it, sat down at the piano, and played the sonata beginning with that measure. In this way I tested him again and again until late into the night, always avoiding the best known and favorite Chopin selections. To my utter astonishment the great pianist did not once fail in the test; he actually knew the entire Chopin from memory. He then declared that he knew every note of the Beethoven piano works by heart, not only the thirty-two sonatas, but everything the master ever wrote for the instrument. When one considers that Rosenthal has stored away in his brain all of the standard works of the other classical composers, as well as many modern compositions, one is simply dumbfounded at such a gigantic memory.
29ARTHUR M. ABELL
31Max Mossel Praised.
33Here is more praise in the English press for Max Mossel, the Dutch violinist:
35A magnificent interpretation of Corelli's "La Folia" was contributed by Max Mossel. Extreme finish and a sense of color are prominent characteristics of this artist's most enjoyable playing.—Musical Standard.
37The first of the series of six concerts by the new Sunday Orchestral Society, was given at the Coronet Theatre on Sunday last. The orchestra consists of about sixty performers, and is led by John Saunders, and conducted by Howard Jones. The playing of the "Euryanthe" overture and Tchaikowsky's fifth symphony was full of life and vigor. Max Mossel was the solo violinist. His playing, especially in Corelli's "La Folia" variations, was excellent.—Herald Times.
39M. Mossel then gave Corelli's not too frequently heard violin solo, "La Folia"; his pure and exquisite tone and magnificent technic eliciting a double recall. In responding M. Mossel insisted on bringing with him Henry Wood, a compliment which that talented artist and accompanist richly deserved.
41Four violin solos by M. Mossel came next, as to which performance it would scarcely be possible to use terms too laudatory. Possibly the "Madrigal" (D'Ambrosio), and "Humoresque" (Dvorák) delighted the greatest number. Rapturous recalls, of course, resulted.—Burton Chronicle.
43LEIPZIG,
44AMERICAN MUSIC STORE,
4521 Gottschald Strasse.
46Bureau of Information.
47ERNEST B. RAUNSER, Prop.
49PIANO SCHOOL FOR THE LESCHETIZKY METHOD AND SCHOOL OF INTERPRETATION.
50Pupils received in the house and practice supervised.
51In charge of MRS POTTER-FRISSELL, pupil of Stepanoff. Prentner (certificated) and Leschetizky. Highly indorsed by Emil Sauer and leading Dresden musicians. Dunning System of Improved Music Study for beginners also represented. Instructor in Ehrlich's School of Music and Franklin College, Dresden. Apply Nurnbergerstr. 54, Pt. r. DRESDEN
53ALBERTO JONÁS
54LESCHETIZKY METHOD
55Anna Hirzel (LANGENHAN)
565 NORDENDSTRASSE
57MUNICH
59MRS. Wilhelm Eylau
60PIANO INSTRUCTION.
61Further St. 4, BERLIN W.
63GEORG FERGUSON
64BARITONE.
65Vocal Instructor.
66KLEIST STRASSE 27, BERLIN W.
68MME. MARIA SPEET
69VOICE CULTURE
70SYSTEM BASED ON NATURAL AND PHYSIOLOGICALLY CORRECT METHODS OF TONE PRODUCTION
71BERLIN, W.
73MARY FOREST GANZ
74VOICE CULTURE
75KLEIST STR. 31
76BERLIN W.
78Prof. Rudolf Schmalfeld,
79Mme. Margarethe Schmalfeld-Vahsel,
80Kammersängerin.
81VOCAL INSTRUCTION.
82Lessons given in English, French and Italian.
83Wagner Singing.
84Mollbronnner Str. 3, BERLIN, W.
86MAX GARRISON
87Vocal Instruction
88Late leading Baritone of Vienna Royal Opera.
89FORMING OF HEAD TONES A SPECIALTY.
90BERLIN W., Mollbronnner Str. 80 one of two readings
91BERLIN W., Mollbronnner St 80 one of two readings
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