Books › Musical Courier 1907-05-08: Vol 54 Iss 19, 1907 › scan 14
Scan 14
Musical Courier 1907-05-08: Vol 54 Iss 19, 1907
54 lines. Read by computer on 24 September 2026, twice; the two readings disagreed in places. Printed page 15. See the scan on archive.org.
1every note. An encore which he played in harmonics was entrancingly sweet and restful after the great variety of difficult compositions requiring so much power on the part of the virtuoso. The last selection of the program was the tarantella which required a faultless flexibility of the great muscular hands of the artist. Every note was clear and precise and all technical difficulty was overcome with an easy gracefulness which showed complete mastery of this instrument with its whims and caprices almost as human as the soul.—The State, Columbia, S. C.
3KARL GRIENAUR HAS HAD NO EQUALS TO APPEAR IN NASHVILLE.
5Of Herr Grienauer it is difficult to speak briefly, for he is a wonderful cellist. In phrasing, in his powers of delicate shade work, in expressiveness and in beauty of tone he has had no equals to appear here. His wrist action is a marvel of dexterity and power, and it enables him to create sounds so rich and full of expression and poetry that the pathetic harmonies he makes are inexpressibly appealing. Some of his notes are golden in their purity and sweetness. His program contained several conventional cellist numbers, notably the Popper compositions, Rubinstein's melodie in F, and Schumann's beautiful "Reverie," and it was interesting to note his individual interpretation. In the Rubinstein number he gave an entirely different reading to this exquisite piece of musical composition, he made it a source of unqualified pleasure to his listeners.
7Again, after the last number, the audience was unwilling to leave without one more number, and the cellist obliged them with a final effort that was the equal of anything that had gone before. The assurance with which Herr Grienauer plays is one of his pleasing qualities. There is never a hesitancy about his work, and its smoothness and finish are the evidences of the fine training and long, careful study he has given to his art.—The Nashville American.
9KARL GRIENAUR'S EXECUTION IS MARVELOUS.
11The Grienauers are artists of exceptional ability, and play with a sympathetic understanding of each other's conceptions and interpretations of the various selections that is remarkably pleasing in effect. Herr Grienauer's first selection was Popper-Grienauer's "Hungarian Rhapsodie," and almost with the first drawing of the bow across the cello strings came a realization of the fact that it was in an artist's hand. His execution is marvelous and this with reference to both bowing and fingering, while he draws from his instrument tones that could be produced by no other cellist who lacked feeling and poetic instinct. His rendition of those numbers most difficult of execution from a standpoint of technical ability elicited genuine admiration for his skill and finished technic, but his softer selections went deeper than that and awakened a sympathy, an appreciation of the artist's high ideal through a clear conception of the composer's thought and a nearness of attainment in its expression.—The Nashville Banner.
13LARGE AUDIENCE ENJOYS GRIENAUR RECITAL. EVEN IF IS THE TREAT OF THE SEASON.
15The program was the most artistic and representative that has been given in this city. They played a number of encores in addition to the regular program and at the close the audience applauded so persistently that they were compelled to return and give another selection. Herr Grienauer is an artist of international renown on his instrument, and his playing last evening was a revelation of his possibilities. Madame Grienauer has a sweet, sympathetic and clear soprano voice which the selections she gave last evening were eminently adapted to reveal. As a pianist she possesses all the qualities that make for the true artist.—Springfield, Ill., Journal. one of two readings
16The program was the most artistic and representative that has been given in this city. They played a number of encores in addition to the regular program and at the close the audience applauded so persistently that they were compelled to return and give another selection. Herr Grienauer is an artist of international renown on his instrument, and his playing last evening was a revelation of its possibilities. Madame Grienauer has a sweet, sympathetic and clear soprano voice which the selections she gave last evening were eminently adapted to reveal. As a pianist she possesses all the qualities that make for the true artist.—Springfield, Ill., Journal. one of two readings
18GRIENAUR ELECTRIFIES HIS AUDIENCE.
20He came with plaudits preceding him from every city he has visited, and in no respect was the artist overestimated. He has splendid technic and he wields his bow with a bold, free stroke. At times the tender sweetness of the tones he evokes is marvelous and then with a change of theme he seems to change his whole personality, fairly electrifying those listening.
22Before he had fairly entered into the spirit of the first of the numbers he had convinced the audience of his wonderful power. He seems absolutely en rapport with the music, and at the same time is entirely free from mannerisms or the gymnastics that many players affect. His true, big tones, perfect intelligence of interpretation, the underlying tenderness, the fascinating rhythm—all these things unite to give him a foremost rank as a cellist. Madame Grienauer, a handsome, exquisitely gowned woman, accompanied her husband's numbers. As an accompanist she is superb, and the most critical musicians were enthused by her work.—The News, Chattanooga, Tenn.
24Mr. Grienauer's playing aroused his hearers to a pitch of enthusiasm unprecedented in local annals.—Austin, Tex.
26Mr. Grienauer came to Memphis unheralded, but his opening number at once established his ability as a performer of exceptional attainments. His playing is characterized by breadth of tone and artistic finish.—Memphis, Tenn.
28VIENNA CELLIST HEARD AT OPERA HOUSE IN A BRILLIANT PROGRAM.
30With the very first number on the program, the Popper-Grienauer "Hungarian Rhapsodie," Karl Grienauer's hearers awoke to the fact that they were listening to a master. His control of his instrument and his wonderful crescendo passages gave his audience to him at once. Unstinted praise must be given his entire performance. His every selection, grave or gay, seemed to evoke an almost human soul from that most musical of all instruments, the cello. He is everywhere received with enthusiasm, and is rapidly establishing for himself an international reputation.—The Daily Times, Chattanooga, Tenn.
32THE MOST IMPORTANT EVENT, MUSICALLY, WHICH HAS OCCURRED IN THIS CITY THIS WINTER WAS KARL GRIENAUR'S RECITAL.
34Only the large audience that attended last night's recital can fully appreciate the musical treat given by the famous cellist, Karl Grienauer. What purity and breadth of tone, masterly interpretation and wonderful technic displays! How he captivated his hearers by his sympathetic, beautiful tone.
36Messrs. Abel and Elmore promised this to be the treat of their musical attractions, and so it was. Had Grienauer chosen to play throughout the night he would have had his entire audience remain. But the end came all too soon, and one's only hope is to hear him this afternoon. Herr Grienauer was ably assisted by Madame Grienauer, who displayed splendid talent as an accompanist.—The Springfield News.
38Pittsburgh Male Chorus Offers Prize.
40The Pittsburgh Male Chorus, James Stephen Martin, conductor, offers a prize of $100 for the best musical setting for chorus (with or without solos), to John Dryden's poem, "Alexander's Feast, or the Power of Music." Competitors are asked to send their scores to Col. Austin Beach, of Oliver avenue and Wood street, Pittsburgh, before September 15, 1907. Each composition should be marked "Pittsburgh Male Chorus Price Competition," and should be accompanied by a sealed envelope containing the name and address of the composer. On receipt of the same, the envelope and the manuscript will be numbered to correspond. The envelope will be retained by Mr. Beach unopened, and the music submitted to the judges of the competition for award. The judges are: Charles Heinroth, city organist; Luigi von Kunzit, former concertmeister of the Pittsburgh Orchestra, and James Stephen Martin, the conductor. The length of the work should require from twenty to thirty minutes for performance.
42Harp Recital by Emilie Grey.
44Emilie Grey, the English harpist, gave a recital at her home in Irving place last week, at which she was assisted by Helen Merriam, soprano; Otto Schubert, basso, and Hallet Gilberte, singer and composer. Mr. Gilberte sang two groups of his own songs. Madame Grey played Widor's variations for harp and orchestra, arranged for harp and piano, and compositions by Poenetz, Thomas and Hasselmans.
46Evelyn Chapman's Song Recital.
48Evelyn Chapman, soprano, gave a song recital last night (Tuesday) at the Friends' Church, Washington and Lafayette avenues, Brooklyn, assisted by Nellie Treat, pianist. The program, one of extraordinary interest, was as follows: Valse, Liszt; "Feux Follets" (Philipp), Miss Treat; "The Spring Has Come" (White), "Because She Kissed It" (Jaynor), "In My Garden" (Jaynor), Miss Chapman; "Deux Arabesques" and "Danse" (Debussy), Miss Treat; "Aufenthalt" (Schubert), "Frühlingszeit" (Becker), Miss Chapman; "Impromptu" (Sinding), "Cavalier" (Goddard), Miss Treat; "The Day is Done" (Sany), "Songs My Mother Taught Me" (Dvorák), "Summer" (Chaminade), Miss Chapman; "Erzählung" and "Étude de Concert" (MacDowell), Miss Treat; "Good-Night, Little Girl" (Macy), "Two Irish Songs" (Lohr), "Little Boy Blue" (Joyce), "Japanese Lullaby" (Neil), "Two Eyes of Brown" (Hawley), Miss Chapman. one of two readings
49Evelyn Chapman, soprano, gave a song recital last night (Tuesday) at the Friends' Church, Washington and Lafayette avenues, Brooklyn, assisted by Nellie Treat, pianist. The program, one of extraordinary interest, was as follows: Valse, Liszt; "Feux Follets" (Philipp), Miss Treat; "The Spring Has Come" (White), "Because She Kissed It" (Jaynor), "In My Garden" (Jaynor), Miss Chapman; "Deux Arabesques" and "Danse" (Debussy), Miss Treat; "Auffenthalt" (Schubert), "Frühlingszeit" (Becker), Miss Chapman; "Impromptu" (Sinding), "Cavalier" (Goddard), Miss Treat; "The Day is Done" (Sany), "Songs My Mother Taught Me" (Dvorák), "Summer" (Chaminade), Miss Chapman; "Erzählung" and "Étude de Concert" (MacDowell), Miss Treat; "Good-Night, Little Girl" (Macy), "Two Irish Songs" (Lohr), "Little Boy Blue" (Joyce), "Japanese Lullaby" (Neil), "Two Eyes of Brown" (Hawley), Miss Chapman. one of two readings
51Tali Esen Morgan and Ocean Grove.
53Tali Esen Morgan is, as usual, first in line for the summer field. On Thursday, June 27, his Festival Orchestra arrives upon the scene. Twelve grand concerts will be given with orchestra, chorus, children or outside organizations. William Santelmann, of Washington, with the Marine Band (loaned by the Government), will be among the features. Emma Eames, Schumann-Heink and Alma Webster Powell will be among the soloists. There will be oratorio, sacred cantatas, and children's musical festivals, an Oriental concert and festival by young people, besides their assistance at various celebrations. The Ocean Grove Festival Orchestra will give a concert. There will be four "Music and Picture" entertainments and eight public rehearsals in the Auditorium. The chorus is to number over 700. This will be one of Mr. Morgan's most important musical seasons at Ocean Grove.
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