Books › Musical Courier 1907-05-08: Vol 54 Iss 19, 1907 › scan 31
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Musical Courier 1907-05-08: Vol 54 Iss 19, 1907
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1Frederick Blair's Cello Recitals.
3Frederick Blair, the cellist of the Schubert String Quartet, has been giving recitals in Springfield and Worcester with great success. Some criticisms follow:
5* * * It is not often that music lovers are afforded the opportunity of listening to a recital of anything like the sort of music Mr. Blair presented last night. It was, in the main, thoroughly cellistic, the only really adapted selections being the C sharp minor etude of Chopin, which Mr. Blair has charmingly arranged for his instrument. The principal number was a new suite by David Popper, for violoncello and piano. The remainder of the program was devoted to soli. That Mr. Blair is a true artist is in no question, and he possesses every characteristic of the genus music. He has energy and repose and at the same time alertness and elasticity. His legatos are smooth and racy, his staccati and pizzicati crisp and brittle. He bows with force, freedom and elegance. He is consistent in all he does, and does not allow his imagination to run riot, but sticks to his text, ever placing the composer before the artist. The Bach number Blair played in a fine, clear cut manner, for which the composer continually calls, and which is so seldom obtained, and the "Cradle Song," by Klengel, proved a real mother song. The "Spinning Song" of Popper, which closed the concert, exhibited a dexterity and smoothness of execution very exceptional. In Klengel's difficult scherzo the passages and harmonics were unusually clear.—Worcester Telegram.
7An enjoyable recital was given in the Art Museum by Frederick Blair, violoncellist. * * * Mr. Blair's playing was much better than his program, yet this contained several interesting things that are rarely heard. The suite by Popper is new; it shows this clever composer in a stronger vein than the gay little dances which he writes so admirably. It is not a great work, but it is pleasing, substantial, well written—a valuable addition to the literature of the instrument. The piano part, like most of Popper's piano parts, is neat and interesting. Mr. Blair's second group contained an effective bit of melodrama, arranged from Mascagni's opera, "Radcliff," which was played with feeling and a fine tone quality; a dainty morceau, by Moszkowski; "La Guitare," written originally for piano, but set for cello by the same composer; a "Cradle Song," by Klengel, and a scherzo by the same composer, which gives an excellent opportunity for technical display. The closing group opened with the bourrée from Bach's third suite, arranged with piano accompaniment. Mr. Blair played it neatly but with too conscientious a staccato and not enough contrast in the flowing legato of the second bourrée. Much better were the transcription of the Chopin C minor etude, which he plays affectionately, and the Popper "Spinning Song," a dainty bit of left-hand work which he executed with grace.—Springfield Republican.
9Schuber Quartet Winning Favor.
11The Schubert Quartet, of Boston, a highly artistic organization, is winning favor everywhere. These string players have very bright prospects ahead for next season. Some of their more recent press notices follow:
13There was an enthusiastic audience at the W. M. I. last night to greet the Schubert String Quartet, of Boston. The exquisite delicacy of tone held the audience spellbound, and an almost strained hush enabled the musicians to give some of the finest and most difficult examples of pure harmony possible. So clear were the interpretations that the audience as a whole was swayed and carried along as by some eloquent voice playing upon the emotions.—New London (Conn.) News.
15The Schubert String Quartet, of Boston, appeared at the Williams Memorial Institute Tuesday evening, giving the first of a series of recitals in the course arranged by the Alumnae Association of the institute. The program of the evening was opened by the quartet in G major, by Beethoven, which was given with much delicacy of expression by the quartet, and hearty applause greeted the ending of the selection.
17Messrs. Loud and Grover provided the next number, a duo for two violins from Spohr's op. 38. These duos seldom appear on programs, being more freely used in studio work, but their adaptability for public rendering was ably demonstrated by the two players.
19Edvard Grieg's "Sring," transcribed by Mr. Blair for string quartet, evoked a more than ordinarily hearty outburst of applause, amounting to a decided encore.
21Mr. Blair's violoncello, an allegro from Valentini's tenth sonata, a selection composed for an instrument of five strings, written about 1690, so pleased the audience that an encore was insisted upon until given by Mr. Blair. The Dvorák quartet in F major concluded the program.—New London Day.
23These young men by their industry and perseverance are making a place for themselves among the first quartets of the country, and are playing an important role in the permanent establishment of this music as a feature of the season's program. Monday's recital was the fourth they have given here, and the size of the audience demonstrated that their former work had not been forgotten, but, to the contrary, the impression created here had borne fruit. The Haydn quartet, op. 76, No. 5, was given with a freshness and spontaneity that evoked enthusiastic applause, the beautiful slow movement (largo in F sharp major) being especially well received. Mr. Loud's rendition of the Viotti twenty-second concerto received many recalls.
25The little Russian novelties and the terzetto of Dvorák proved likewise especially interesting. The Rubinstein quartet, so seldom played, furnished a brilliant ending to an evening of much enjoyment. On every side could be heard only the highest praise for the work of these young artists.—Norwich Bulletin.
27Every number on the program was beautifully played and evidently gave great pleasure to the large audience present. To like the playing of a string quartet has been generally called a mark of distinction, for this is universally conceded to be the purest and highest form of music. The Schubert String Quartet is winning for itself honorable distinction as performers of chamber music, and a warm welcome is assured them on their next visit to New Britain. A duo for two violins is an unusual number on a concert program, but the Spohr played as they played it proved to be very interesting, and gave the players an opportunity to show their admirable technical skill. Special mention should also be made of the charming little cello solo played by Mr. Blair; an allegro from a sonata written by Valentini in 1690 for an instrument of five strings, now obsolete, which so delighted the audience that an encore was demanded. The most interesting number was the Dvorák quartet. It will need but a few more recitals like that of last evening to create a positive demand for good music.—New Britain Herald.
29Anna Otten Quartet in Albany.
31The Anna Otten Quartet played for the Adelphi Club, at Albany, April 25, and for the Young Men's Hebrew Association, at Philadelphia, April 30, scoring decided success at both places. Edward Elliott, manager of the quartet, is now booking it for next season and anticipates a busy fall and winter for this splendid organization.
33On June 11 they are to play at Well's College, Aurora-on-Cayuga, N. Y. Following are extracts from Philadelphia notices:
35The feature of the program was the appearance of the Otten String Quartet, one of the best among organizations of its class, which justified its reputation by finished and eloquent performances of Beethoven's quartet in C minor, op. 18, No. 4; of the slow movement from Schubert's D minor quartet, and of numbers of Bach and Haydn. Miss Otten also played with force and fire Saint-Saëns' rondo capriccioso and a dance by Hubay.—Philadelphia Inquirer, May 1, 1907.
37The Anna Otten String Quartet, of New York, was the feature of the concluding entertainment given in Mercantile Hall last night, under the auspices of the Y. M. H. A. An instant impression was made on the large audience by the playing of these charming musicians, who rendered Beethoven's C minor quartet in a graceful and sympathetic manner.—Public Ledger, May 1, 1907.
39Letter for Dr. Percy Starnes.
41There is a letter in this office addressed to Dr. Percy Starnes, care THE MUSICAL COURIER, New York.
43Frank Ormsby as Samson.
45More opinions, on the tenor, Frank Ormsby, in the part of Samson, have been taken from the newspapers of Rochester:
47The part of Samson, second only to that of Delilah in importance, was taken by Frank Ormsby. He has a tenor voice of power, yet exceptionally pure. Unlike many singers of reputation, he is so clear in his enunciation that he is easy to understand and his rendition of the part was greatly enjoyed by the entire audience.—Rochester Evening Times, April 25, 1907.
49Interest in the solo work centered largely in the appearance of Mr. Ormsby, who was substituted for Dan Beddoe, owing to the latter's illness. Mr. Ormsby was equal to all the requirements.—Rochester Union Advertiser.
51Mr. Ormsby is not a tenor of heroic mold, but he is a capable and painstaking singer and he sang with earnestness and fire.—Rochester Post Express.
53Frank Ormsby, who sang instead of Daniel Beddoe, who was indisposed, came as a pleasant surprise. His work as Samson was excellent and his voice responded splendidly to the various moods of the music.—Rochester Herald.
55On account of the illness of Daniel Beddoe, Frank Ormsby of New York, sang the part of Samson. He was equal to the task, with his ample tenor voice and his exceptionally pure articulation.—Rochester Democrat.
57George Hamlin in Handel's "Belshazzar."
59The following lines about George Hamlin, tell of the tenor's success in the performance of Handel's "Belshazzar," in Boston, by the Handel and Haydn Society, of that City:
61George Hamlin was a famous Belshazzar.—Boston Globe, April 1, 1907.
63George Hamlin was a dramatic Belshazzar, and he was assisted in this by his brilliant tenor voice.—Boston Post, April 1, 1907.
65Mr. Hamlin sang with intelligence and artistic results. His voice is a free and open "tenore robusto," and he gave great satisfaction.—Boston Journal, April 1, 1907.
67Mr. Hamlin disported himself with the accurate agility of sound schooling and recent practice in Belshazzar's light and florid roulades.—Boston Evening Manuscript, April 1, 1907.
69George Hamlin sang his numbers with artistic finish.—Boston Daily Advertiser, April 1, 1907.
71Bookings for Edward Johnson, Past and Future.
73Bookings for the tenor, Edward Johnson, for the past spring and summer included: April 2d, Brooklyn; 4th, Philadelphia; 8th, Guelph, Canada; 10th, Watertown, N. Y.; 11th, Syracuse; 15th, Newburyport, Mass.; 16th, Salem; 17th, Taunton; 18th, Brockton; 19th, Lynn; 20th, Chelsea; 24th and 25th, Spartanburg, S. C.; 28th, New York City; May 1st, Worcester; 2d, Boston; 4th, Hackensack, N. J.; 6th and 7th, Saginaw, Mich.; 9th and 11th, Ann Arbor, Mich.; 13th and 14th, Oberlin, Ohio; 15th and 16th, South Bend, Ind.; 18th, Mount Vernon, Ia.; 20th, Mitchell, S. Dak.; 22d, Lincoln, Neb.; 24th and 25th, Cedar Falls, Ia.; 27th, Indianapolis, Ind.; 28th and 29th, Richmond, Va.; June 3d and 4th, Norfolk, Conn.
75Helen Gauntlett Williams, contralto, has accepted the position in the choir of the Congregational Church, at South Norwalk, Conn. Of many applicants, Miss Williams was chosen after a first trial.
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