Books › Musical Courier 1907-05-08: Vol 54 Iss 19, 1907 › scan 11
Scan 11
Musical Courier 1907-05-08: Vol 54 Iss 19, 1907
28 lines. Read by computer on 24 September 2026. Printed page 12. See the scan on archive.org.
1IX DISTRICT, LAZARETHGASSE, April 20, 1907.
2The Concordia Society is the chief association of journalists, authors and artists in Vienna. They gave an evening of music and recitations which proved very enjoyable, and was gratifying in that among the prominent persons who contributed to the program the musical honors were done by two Americans, Monica Dailey at the piano and Mr. Falck with his violin. Miss Dailey is a talented pupil of Leschetizky, and will shortly be heard in concert in London. She played two of her teacher's charming pieces, "Mandolinata" and the "Toccata." Her wholesome performance was appreciated by the critical audience and she was encored. Mr. Falck is a Sevcik pupil and a credit to that teacher. He, too, was encored, his masterly style and his virtuosity bringing him much applause.
4Tilly Koenen, the famous Dutch contralto, was heard in her third recital in Boesendorfer Hall, Monday evening. She began with Van Eyken's "Schmeid Schmerz" and "Gnomenreigen"; Wagner-Liszt, "Consolation" and "Stille-Trostung." In the Brahms "Vier ernste Gesange," she sang her best. The remaining songs were the Cornelius six "Christmas" songs and Catharina van Renne's four Dutch "Children's Songs."
6The same evening Alberto Jonás, the celebrated Spanish pianist, now residing in Berlin, concertized in Ehrbar Hall. He had a large audience and decided appreciation. In the seven years since we last heard him, Jonás, with all his teaching activity, has made great strides in his art. His tone is larger, his technic much greater, much more powerful, and he is as musical as ever. His long program consisted of a Mendelssohn prelude and fugue in E minor, Beethoven's sonata, op. 111; Chopin nocturne in B flat major, Scotch dances and C sharp minor scherzo; Liszt, "Gnomenreigen"; Wagner-Liszt, "Isolde's Liebestod"; Schubert-Liszt, "Erlkönig"; Liszt, "Consolation" and "Legende."
8Theodore Leschetizky, of long and great fame, in other years one of the greatest pianists, and now the conceded master of many of the foremost of modern pianists, the beloved teacher of numerous talents of many hemispheres, on Wednesday evening held his first "class" of the season of 1906-1907. By "class" is not meant that a small number of pupils jointly receive a lesson, but all the pupils assemble and listen to the performances of a selected few, called one after the other by the "professor," who sits at a second piano and usually accompanies the concertos. Thus it is a "class," but it has much of the nature of the "soirée." Between numbers a heavy hum of talk fills the spacious, artistically decorated rooms.
10On this, the first evening, Edward Schuett, composer and former pupil, was seen seated near the pianos and often in conversation with Leschetizky. The program was long and interesting. In years back the classes have been numerous and history making, and from them went forth a number of great pianists who will perpetuate the name of Leschetizky.
12At a charity concert in the Music Verein Hall, given for the benefit of the German Hilfsverein. Ysaye played concertos by Bach and Mendelssohn and a ballad and polonaise by Vieuxtemps.
14At the Sunday popular concert of the Vienna Concert Verein, the pianist of the day, Marie Schlottko, created a sensation with her performance of the Beethoven E flat major concerto. The large audience arose and tendered the young lady a rare ovation. She has a powerful technic, fluency, a clear, musical tone, and a broad, distinguished style. She is a pupil of the talented critic, Professor Robert.
16At the Opera this week: "Hänsel und Gretel," "Hoffmann's Erzählungen," "Flying Dutchman," "The Magic Flute," "La Muette de Portici," "Taming of the Shrew," "Mignon." M. MARVIN GRODZINSKY.
18Recital at Goodrich Studio.
19Saturday of week before last a number of guests assembled at the Goodrich studio, in Carvel Court, to witness a remarkable demonstration in musical proficiency by Miriam Kennedy, a little girl aged ten. The program included tests in reading music at sight, ear training, exercises in melodies, rhythmic and dynamics, scales, chords, broken chords, arpeggi; naming the various styles, lyric, canonic, harmonic, antiphonal, thematic and bravura; a study for two pianos, played by Miriam and her teacher; building major and minor scales in any key called for, also chords in three positions; piano solo, "Robin Goodfellow" (composed for Miriam by her teacher, Florence A. Goodrich); analysis by card, march, waltz, mazurka, etude, saraband, tarantelle and bell piece; memorizing an etude by Wieck, using different qualities of tone, pedal effects; piano duet, "Festival March," Joseph Low. The guests were deeply interested and expressed much surprise that such results could be produced in eleven weeks.
21A Colleague's Tribute to Bloomfield-Zeisler.
22The following is from a letter written by Mrs. Frances Striegel-Burke, formerly a Chicago pianist of note, now living in Oregon, who happened to be visiting in Philadelphia when Madame Bloomfield-Zeisler played the Moszkowski concerto with the Philadelphia Orchestra, at the last concert Mr. Scheel was destined to conduct:
24"I have worked at that dreadful Moszkowski concerto enough to shudder at its name but today its difficulties vanished like thistledown in the wind. Of what are her fingers made that she could go on and on developing new enchantments of tone, new marvels of velocity, and delicacy and power, raising us to a seventh heaven of delight, and leaving us stunned by the mystery and wonder of it. It was an unexampled illustration of bewitching rhythm. I heard, felt, saw, sparks on the strong beats of the last two movements. Never before did an artist give me so strong an impression of poise, reserve force and magnetic control over an orchestra and an audience. My sensations fairly suffocated me, and I longed to kiss the hand of so great a woman, so great a genius, so, for one of the red letter days of my musical life, I thank her. All the world should gratefully reverence any one who, having the natural endowment, has also the divine patience, energy and heroism necessary to carry her on to such supreme artistic achievement. That concerto was alone worth the long trip from Oregon here."
26Mrs. Clifford Williams' Pupils.
27Mrs. Clifford Williams, whose vocal studio is at 463 Central Park West, has had the satisfaction to hear a number of her professional pupils sing at concerts during the past season. Louise Sharpe, who sings in a Brooklyn church choir, has had a number of club engagements. Louise Cheatham, from Texas, sang with good success at a recent concert at the Hotel Astor. Jessie Porter, a dramatic soprano, is another of Mrs. Williams' singers who is making fame. Miss Pope, from Macon, Ga., is still another. Mrs. Williams will have a summer term, and among those already entered in the classes are several young women from the Southern States.
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