Scan 19
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
149 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 18. 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 Philharmonic, 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—Felix Litvinne, vocal.
23Singakademie—Blanca Panteo, violin, with Philharmonic Orchestra, and Else Schönemann, vocal.
24Royal Opera—"Carmen."
25Comic Opera—"Die Bohème."
26West Side Opera—"Schützenlied."
27Lortzing Opera—"Die Fledermaus."
29SUNDAY, NOVEMBER 25.
30Philharmonie (matinee)—Nikisch Philharmonic, soloist, Willy Burmester, violin.
31Philharmonic—"Pop."
32Singakademie—Brahms' "Togenfest."
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—Kotzau "à capella" Singing Society. one of two readings
43Singakademie—Kotzov "à capella" Singing Society. one of two readings
44Royal Opera—"Flying Dutchman."
45Comic Opera—"Hoffmann's Erzählungen."
46West Side Opera—"Das Göckchen des Eremiten."
47Lortzing Opera—"Die Fledermaus."
49TUESDAY, NOVEMBER 27.
50Beethoven Hall—Blanche Marchesi, vocal.
51Bechstein Hall—Margarethe Eusser, piano.
52Royal High School (theater)—Vera Goldberg, vocal.
53Mozart Hall—Alberto Curci, violin, assisted by Hugo Hinze-Reinhold.
54Philharmonic—"Pop"; small hall, Robert Kothe, vocal.
55Singakademie—Thekla Scholl-Gerkensmeyer, piano.
56Royal Opera—"Rigoletto."
57Comic Opera—"Carmen."
58West Side Opera—"Die Fledermaus."
59Lortzing Opera—"Der Waffenschmied."
61WEDNESDAY, NOVEMBER 28.
62Beethoven Hall—Tilly Koenen, vocal.
63Bechstein Hall—Paula Stiebel, piano.
64Mozart Hall—Franz Karharnek, violin.
65Philharmonic—Alfred Wittenberg, violin, with Philharmonic Orchestra under Fritz Steinbach.
66Römischer Hof—Eugen Dehnhoff, vocal.
67Singakademie—Frédéric Lamond, piano.
68Royal Opera—"Cosi fan tutti."
69Comic Opera—"Lakmé."
70West Side Opera—"Martha."
71Lortzing Opera—"Die Fledermaus."
73THURSDAY, NOVEMBER 29.
74Beethoven Hall—Georg Bertram, piano, with Philharmonic Orchestra under Otto Urack.
75Bechstein Hall—Alfred Reisenauer, piano.
76Mozart Hall—Berlin "Liedertafel" under direction of Franz Wagner.
77Philharmonic—Elite Concert, Jean Gerardy, Lola Artot de Padilla, Adele Sandrock, Ludwig Wüllner.
78Singakademie—Else and Cécile Satz, piano.
79Royal Opera—"Carmen."
80Comic Opera—"Hoffmann's Erzählungen."
81West Side Opera—"Schmetterling."
82Lortzing Opera—"Undine."
84FRIDAY, NOVEMBER 30.
85Beethoven Hall—Evelyn Suart, piano, with Philharmonic Orchestra.
86Bechstein Hall—Brussels String Quartet, assisted by Véra Maurina, piano.
87Mozart Hall—Charlotte Huhn, with Mozart Orchestra.
88Philharmonic—Eugen Ysaye and José Viana 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:
97GODINE 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.
100E. YSAYE.
102PRAGUE, April 1, 1906.
103I 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.
104His 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.
106STEPHEN SUCHY.
108I, 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.
109Mr. 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.
111PROF. O. SEVCIK,
112Chief of the Violin Department of the Conservatory of Music in Prague.
114Unqualified 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.
116Bertram Shapleigh's New Songs.
117As 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.
119Leopold Godowsky's Successes.
120Godowsky'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:
121In 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.
123Godowsky 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.
125Since 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.
127In the old and the new worlds the artist is famed as the ne plus ultra of technic.—Der Beobachter, December 1, 1904.
129In his brilliant virtuoso style of piano playing he is surpassed by no one, and hardly equaled.—Badische Presse, December 8, 1904.
131At 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.
133A New Violin Concerto.
134Anna 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 Woyrsch. 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.
136Albert Rosenthal and Madame Herzog.
137The 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.
139A New Musical Association.
140A 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.
142THE AMERICAN MUSICIAN AND ART JOURNAL
143A 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.
144Annual Subscription 50 cents a year.
145Single copies 5 cents.
146Published on Second and Fourth Tuesdays of every Month.
147ST. JAMES BUILDING, ROOMS 323-324
148Broadway and 26th Street, New York.
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