Scan 17
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
147 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1at the Klindworth-Scharwenka Conservatory, and latterly privately.
3Anton Foerster, the Austrian pianist, recently scored a brilliant success in Vienna. The critics praise his immense technic and beautiful touch, as well as his depth of conception, in glowing terms.
5Professor Gustav Hollaender, director of the Stern Conservatory, has arranged a big concert, of which the program will be made up exclusively of Eugen d'Albert's compositions, to be given under his personal direction, with the assistance of his wife, Herménie d'Albert-Fink, and the conservatory orchestra, at the Philharmonie, on December 21.
7The Klindworth-Scharwenka Conservatory will celebrate the twenty-fifth anniversary of its founding with two big festival concerts, to be given in the Philharmonic and Beethoven Hall, December 18 and 19, in the presence of invited audiences. Both concerts will be given with the conservatory orchestra, under Conductor Robert Robetschek, director of the school, and the soloists will be Xaver Scharwenka, who will play his C sharp minor concerto at the first concert, and the best pupil of the conservatory at the second.
9Marteau, Ysaye and Kreisler will be heard on Tuesday, Wednesday and Thursday, respectively, all three in the Beethoven concerto.
11Edmund Monod, the distinguished piano teacher of Geneva, who formerly was for six years Varette Stepanoff's first assistant in this city, has written a book on harmony and melody, which has just been brought out by Georges Bridel & Co., of Lausanne. This book shows Mr. Monod to be a thorough musician in the best sense of the word, a musician who has done a great deal of thinking on the subject of music, outside of piano practice. The book is clearly and logically written in French, and the author's meaning is made so plain that misunderstandings are impossible, and students cannot fail to profit from a study of the work.
13A valuable aid to the technical training on the piano and string instruments is a brochure called "Die Ausbildung der Hand, für die höhere Technik," by Waldemar Schnee, of this city. Mr. Schnee recently gave me a practical demonstration of his method, which, by stretching of the skin and by ingenious movements of the fingers, especially such as bring into play the stretching muscles, increases the expansion of the hand and flexibility of the fingers to a remarkable degree. Mr. Schnee's ideas are very logical, and based on physiological facts. There is no doubt that a great deal of time is wasted on technical training which might be saved if certain natural defects of the hand could be overcome in an easier, quicker way.
15ARTHUR M. ABELL.
17The Berlin Concert Week.
19SATURDAY, NOVEMBER 24.
20Beethoven Hall—Elena Gerhardt, vocal, assisted by Prof. Arthur Nikisch.
21Bechstein Hall—Friedrich Walter Porges, violin; Dr. James Simon, piano.
22Mozart Hall—Felia Litvinne, vocal.
23Singakademie—Bianca Panteo, violin, with Philharmonic Orchestra, and Else Schünemann, vocal.
24Royal Opera—"Carmen."
25Comic Opera—"Die Bohème."
26West Side Opera—"Schützenlied."
27Lortzing Opera—"Die Fledermaus."
29SUNDAY, NOVEMBER 25.
30Philharmonic (matinee)—Nikisch Philharmonic, soloist, Willy Burmester, violin.
31Philharmonic—Philharmonic "Pop."
32Singakademie—Brahms' "Totentanz."
33Royal Opera—"Orpheus and Eurydice."
34Comic Opera—"Lakmé."
35West Side Opera—"The Trumpeter of Säkkingen."
36Lortzing Opera—"The Troubadour"
38MONDAY, NOVEMBER 26.
39Beethoven Hall—Gustav Bumcke, first chamber music evening.
40Bechstein Hall—Ciska Shatka, vocal; Albert Friedenthal, piano.
41Philharmonic—Nikisch Philharmonic, soloist, Willy Burmester, violin.
42Singakademie—Kotzolt "à capella" Singing Society.
43Royal Opera—"Flying Dutchman."
44Comic Opera—"Hoffmann's Erzählungen."
45West Side Opera—"Das Glöckchen des Eremiten."
46Lortzing Opera—"Die Fledermaus."
48TUESDAY, NOVEMBER 27.
49Beethoven Hall—Blanche Marchesi, vocal.
50Bechstein Hall—Margarethe Essert, piano.
51Royal High School (theater)—Vera Goldberg, vocal.
52Mozart Hall—Alberto Curei, violin, assisted by Hugo Hinze-Reinhold.
53Philharmonic—Philharmonic "Pop"; small hall, Robert Kothle, vocal.
54Singakademie—Thekla Scholl-Gerkensmeyer, piano.
55Royal Opera—"Rigoletto."
56Comic Opera—"Carmen."
57West Side Opera—"Die Fledermaus."
58Lortzing Opera—"Der Waffenschmied."
60WEDNESDAY, NOVEMBER 28.
61Beethoven Hall—Tilly Koenen, vocal.
62Bechstein Hall—Paula Stiebel, piano.
63Mozart Hall—Franz Karharnek, violin.
64Philharmonic—Alfred Wittenberg, violin, with Philharmonic Orchestra under Fritz Steinbach.
65Römischer Hof—Eugen Dehnhoff, vocal.
66Singakademie—Frédéric Lamon, piano.
67Royal Opera—"Cosi fan tutti."
68Comic Opera—"Lakmé."
69West Side Opera—"Martha."
70Lortzing Opera—"Die Fledermaus."
72THURSDAY, NOVEMBER 29.
73Beethoven Hall—Georg Bertram, piano, with Philharmonic Orchestra under Otto Utrac.
74Bechstein Hall—Alfred Reisenauer, piano.
75Mozart Hall—Berlin "Liedertafel" under direction of Franz Wagner.
76Philharmonic—Elite Concert, Jean Gerardy, Lola Artot de Padilla, Adele Sandrock, Ludwig Wüllner.
77Singakademie—Else and Cécile Satz, piano.
78Royal Opera—"Carmen."
79Comic Opera—"Hoffmann's Erzählungen."
80West Side Opera—"Schmetterling."
81Lortzing Opera—"Undine."
83FRIDAY, NOVEMBER 30.
84Beethoven Hall—Evelyn Suart, piano, with Philharmonic Orchestra.
85Bechstein Hall—Brussels String Quartet, assisted by Véra Maurina, piano. one of two readings
86Bechstein Hall—Brussels String Quartet, assisted by Véra Mau-rina, piano. one of two readings
87Mozart Hall—Charlotte Huhn, with Mozart Orchestra.
88Philharmonic—Eugen Ysaye and José Vianna da Motta; small hall, Aug. Victoria v. d. Hellen, vocal, assisted by Albert Möller, recitations.
89Royal Opera—"Die Walküre."
90Comic Opera—"Die Bohème."
91West Side Opera—"Schmetterling."
92Lortzing Opera—"Daughter of the Regiment."
94Otto Meyer's Brilliant Credentials.
95The following are copies of certificates received from Professors Sevcik, Ysaye and Suchy:
97GODING SUR MEUSE, Belgique, August 28, 1906.
98I certify that Otto Meyer has studied under me during the course of this summer. I have a great sympathy for him and great interest for the development of his genius, which cannot fail to fill a glorious career.
99E. YSAYE.
101PRAGUE, April 1, 1906.
102I hereby certify that Otto Meyer, of La Porte, Ind., U. S. A., has had violin instruction from me from September 1, 1903, until April 1, 1906, and by his talent, industry and application during that time has become a brilliant virtuoso and fine artist.
103His playing is characterized by complete mastery of all technical difficulties, by originality of conception, and by artistic rendering. Because of these qualities which he possesses and his experience as preparatory teacher (Vorbereiter) for me and for Professor Sevcik's school, I recommend him most highly as soloist, and as master and teacher of the Sevcik method of violin instruction.
104STEPHEN SUCHY.
106I, the undersigned, hereby certify that Otto Meyer, from La Porte, Ind., U. S. A., has been under my instruction from October, 1904, to April, 1906, and has finished his studies on the violin in an exemplary manner.
107Mr. Meyer is a talented violin virtuoso, who possesses a finished technic and a large and beautiful tone. His playing is characterized by temperament and matured musical understanding. I therefore recommend him most highly as a soloist and declare him fully competent to give violin instruction according to my method.
108PROF. O. SEVCIK,
109Chief of the Violin Department of the Conservatory of Music in Prague.
111Unqualified and all round success has met this brilliant young violinist since his arrival in Berlin two months ago. Seldom has an American stepped into the midst of popular esteem, as it were, with such decisive rapidity. One of the results of the success which he attained at his concert on Monday last has been three more pupils. Pedagogically Mr. Meyer is also exceedingly gifted, and the large class of pupils which he has gathered around him are full of enthusiasm for their young teacher.
113Bertram Shapleigh's New Songs.
114As there is always a demand for bright, effective and modern songs, it is pleasant to notice that Breitkopf & Hartel have just published "Three English Songs" by Bertram Shapleigh, one of the young American composers. These songs are for baritone or contralto, with piano and orchestral accompaniments, and bear the titles of "Green Fields of England," words by Arthur Hugh Clough; "Oh, to Be in England," words by Robert Browning; "I Traveled Among Unknown Men," words by William Wordsworth. The spirit of the texts is fully carried out in the singing music as well as in the accompaniments. All the songs are very effective.
116Leopold Godowsky's Successes.
117Godowsky's press notices, whenever he plays in Europe, are invariably more in the form of eulogies than criticisms. Note in the following the comparisons to Tausig and Chopin:
118In the incredibly fine dynamics of his touch Godowsky is peerless. * * * Every means of expression stands at the command of this wonderful artist.—Breslauer General-Anzeiger, February 12, 1905.
120Godowsky is not solely a phenomenon in the line of freedom from technical difficulties; he is—a fact which places him yet higher—an unusual and an enchanting artist. * * * He is a poet like Chopin. * * * In the present day there is perhaps no pianist to be held in higher esteem than Godowsky.—Magdeburger General-Anzeiger, December 14, 1902.
122Since the time of Tausig so individual a phenomenon has not appeared in the concert hall. Godowsky's technic has reached the highest that can be demanded of the ten fingers of both hands.—Magdeburger General-Anzeiger, December 16, 1902.
124In the old and the new worlds the artist is famed as the ne plus ultra of technic.—Der Beobachter, December 1, 1904.
126In his brilliant virtuoso style of piano playing he is surpassed by no one, and hardly equaled.—Badische Presse, December 8, 1904.
128At this moment anything analogous with Godowsky's virtuosity considered in itself does not occur to us. It is stupendous, it borders on the legendary. Such freedom from all natural impediments, such elevation of the virtuoso into the artistic, has been displayed by scarcely any one but Godowsky since the time of Liszt.—Potsdamer Intelligenz-Blatt, January 23, 1904.
130A New Violin Concerto.
131Anna Hegner, the excellent violinist and teacher at the Conservatory at Frankfurt, recently played in Altona with brilliant success the violin concerto called "Skaldische Rhapsodie," by Felix Woysch. The work has been performed several times in Berlin, where it has been very well received. It is in three parts; the first is called "Heldenrage," the second "Totenklage" (a ballade), and the third "Heimfahrt." It is a most interesting and grateful composition, an important contribution to violin literature, and can be warmly recommended to all violinists who wish to enrich their repertory. It is published by Chr. Friedrich Vieweg, G. m. b. H., Berlin-Gross Lichterfelde. one of two readings
132Anna Hegner, the excellent violinist and teacher at the Conservatory at Frankfurt, recently played in Altona with brilliant success the violin concerto called "Skaldische Rhapsodie," by Felix Woysch. The work has been performed several times in Berlin, where it has been very well received. It is in three parts; the first is called "Helden-sage," the second "Totenklage" (a ballade), and the third "Heimfahrt." It is a most interesting and grateful composition, an important contribution to violin literature, and can be warmly recommended to all violinists who wish to enrich their repertory. It is published by Chr. Friedrich Vieweg, G. m. b. H., Berlin-Gross Lichterfelde. one of two readings
134Albert Rosenthal and Madame Herzog.
135The brilliant young American 'cellist, Albert Rosenthal, recently assisted at a concert given in Danzig, Germany, by Emilie Herzog, the celebrated prima donna of the Berlin Royal Opera, and the youthful artist won quite as great a share of the applause of a large and enthusiastic audience as the distinguished diva herself. He was pronounced a master of his instrument.
137A New Musical Association.
138A charter has been granted to the Rondo Musical Beneficial Association, of Allentown, Pa. The objects are sociability, advancement in music and assistance in case of death. The association has opened rooms in the Klepinger Building, in Allentown.
140A Strikingly Interesting Musical Newspaper, representative of America's Band and Orchestra Players, Popular Music Composers and Publishers, and the allied industries of Musical Merchandise; also Musical Drama.
141Annual Subscription 50 cents a year.
142Single copies 5 cents.
143Published on Second and Fourth Tuesdays of every Month.
145ST. JAMES BUILDING, ROOMS 323-324
146Broadway and 26th Street, New York.
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