Books › Musical Courier 1907-06-12: Vol 54 Iss 24, 1907 › scan 11
Scan 11
Musical Courier 1907-06-12: Vol 54 Iss 24, 1907
110 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 10. See the scan on archive.org.
1MUSIC IN HOLLAND.
3THE HAGUE, June 1, 1907.
5The important events of the second half of our music season in The Hague were few and far between, and therefore your correspondent has not been frequent of late in his letters from here.
7In the operatic world the harvest was very meager. The Italians produced a new "Cavalleria Rusticana" by Monleone, which will not supersede that of Mascagni. The French Opera did only "Freischutz" in the version of Berlioz, and Puccini's "Manon Lescaut." It is strange (or, perhaps, not so strange as it seems to be) that the Italians neglect the best works of their own school, old and new, and that the French do the same with the operas of their soil.
9Among the orchestral novelties heard was a symphony by Paul Juon, who did not come up to the great expectations his former works had raised.
11There was a commendable rivalry between the Amsterdam and The Hague orchestras in putting forward new compositions, great artists and leaders. Of the latter we had W. Kes, Weingartner, Gabriel Pierné, Stavenhagen, Colonne. At Amsterdam, Bruneau conducted a performance of his "Requiem" and Pierné his newest work for chorus, solo parts and orchestra, written specially for our local Royal Oratorio Society. The novelty was not so well received as Pierné's "Croisade des Enfants."
13There were here also some concerts arranged by composers. The Dutchman Brucker Fock, whose lieder deserve attention; and the Frenchman Charles Tournon, who proved to be a gifted musician, still seeking to escape the restraint of the César Franck school, to which he belongs. Let me mention the performance of a "Flower Fairy Tale," which gave the young composer, Koeberg, the chance to write orchestral music of great beauty and variety. Pergolesi's "Serva padrona" was new here and proved to be a delicious little opera.
15Dr. Neitzel, from Cologne, gave us a very fine conference about "Salome." Dr. Loewe, from Breslau, will perhaps produce the famous work of Strauss in this country next season.
17Dr. J. de Jong.
19ANTON FOERSTER'S BERLIN SUCCESSES.
21Anton Foerster's successes are always legitimate ends gained by just means. He works on steadily, modestly, unobtrusively, always "hitching his wagon to a star." His love for his chosen art is reverent, even as it is unchanging, and it is this spirit of striving to attain to the inner meaning, to the choicest secrets of the masters whose why and wherefore of Foerster's great popularity, of his unwavering advancement toward the ranks of the mighty.
23Some selected press notices of his Berlin appearances in 1907 follow:
25Mr. Foerster displayed his significant artistic superiority in works by Beethoven, Chopin and Liszt. The artist opened his program with two Beethoven sonatas, op. 27, Nos. 1 and 2, into which he entered with all the poetry of his reproductive art, especially the "Moonlight," which he played with such warmth of feeling and beauty of tone that he was overwhelmed with applause. A rare enjoyment was afforded by the Chopin group of pieces which followed; here again the beauty of tone and refinement of interpretation were quite unique. The prevailing characteristics of this performance are the ever beautiful tone which he produces and his complete mastery of the instrument. The extraordinary facility with which every technical difficulty was overcome compelled admiration, and his rendering of Liszt's "Legend of St. Francis Walking on the Waves" left no wish unfulfilled. Mr. Foerster was enthusiastically applauded at the end and was obliged to respond with encores.—Der Reichsanzeiger, Berlin, March 8, 1907.
27In finish of style, Anton Foerster takes high rank. His technical achievements display much care, and it is almost superfluous to say that on this score not a single point to cavil at can be found. In power of expression, his playing shows tremendous improvement.—Neue Preuss (Kreuz) Zeitung, March 13, 1907.
29His technic is perfected in every detail, his touch rich in modulation, his taste, as was evinced by his choice of program, distinguished.—Berliner Börsen-Zeitung, March 7, 1907.
31As a triumph is to be recorded Anton Foerster's first recital of this season. The artist has brought his development of his youthful strength of genius to a ripe efficiency, which is to be perceived not only in his brilliant technic, but also in his musical comprehension.—Deutsche Zeitung, March 6, 1907.
33Anton Foerster captivates by his artistic zeal and impressive technical ability.—Berliner Tageblatt, March 12, 1907.
35This artist, who was already famous as a technical virtuoso, has yet added to his art by an increased refinement of touch and a variety of tone color. It was a joy to hear his rendering of Chopin's A flat polonaise, also the B flat major nocturne, with its many trills.—Die Post, March 16, 1907.
37Beethoven's sonata, op. 27, No. 2, suited him splendidly and the artist was fascinating with his sure technic, decisive touch and his characteristic musical interpretation.—Berliner Morgenpost, March 8, 1907.
39The superiority of Foerster's art has already been worthily acknowledged. It was again in evidence and appeared to the best advantage—again he understood perfectly how to bring forth the utmost power of expression from the instrument. Particularly full of strength and energy was his reading of Beethoven, in which he reached his artistic summit in the maestoso of sonata, op. 111. Of the other numbers, Schumann's "Vogel als Prophet," and Liszt's E major polonaise were exceedingly charming.—Der Reichsanzeiger, April 16, 1907.
41He played the two sonatas of Beethoven, op. 27, with bravura and an impressive technic. With his magnificent, virile rendering of Chopin's A flat polonaise, the artist rose to the loftiest artistic heights. Mr. Foerster possesses the qualities which go to make up a great pianist. He has musical perception, a virtuoso technic, strength, rhythm and plasticity.—Volks-Zeitung, March 10, 1907.
43NEW COMPOSITIONS
45ELEANOR EVEREST FREER one of two readings
46ELEANOR EVEREST FERER one of two readings
47Op. 12. No. 1. Faith ……soc.
48" 14. " 2. The Dancers…soc.
49" 14. " 1. She Is Not Fair to Outward View…soc.
50" 14. " 2. I Have Done Put By the Lute ……soc.
52HUGO KAUN
53Op. 68. No. 1. Nichtiges Wandern ……40c.
54" 68. " 2. Wie wundersam ……40c.
55" 68. " 3. In der Mühle ……50c.
56" 68. " 4. Am Heimweg ……40c.
58P. TSCHAIKOWSKY
59Op. 72 (Last Works) 18 PIECES FOR THE PIANO PUBLISHED SEPARATELY
60To introduce these 18 compositions by this great master, we will send the complete set (finest edition) upon receipt of $1.00.
61WM. A. KAUN MUSIC CO., Milwaukee, Wis.
63MRS. WILHELM EYLAU
64PIANO INSTRUCTION.
65Martin Luther St. 68, Portal II BERLIN, W.
66Prof. Rudolf Schmalfeld, Mme. Margarethe Schmalfeld-Vahsel
67Kammersängerin.
68VOCAL INSTRUCTION.
69Lessons given in English, French and Italian, Wagner Singing.
70Heilbronner Str. 3, BERLIN, W.
71During July and August in Switzerland Special Summer terms to professionals.
73PASMORE
74One of the principal teachers of singing of the Klindworth-Scharwenka Conservatory.
75HOLSTEINSCHESTR. 28.
77LESCHETIZKY METHOD
78Anna Hirzel (LANGENHAN)
79NORDENSTRASSE MUNICH
81EDGAR STILLMAN-KELLEY
82COMPOSER
83STUDIO ADDRESS: Tauenzien St., 19A, Berlin, W.
84GEORG FERGUSSON
85BARITONE.
86Vocal Instructor.
87KLEIST STRASSE 27, BERLIN W.
89THE EICHELBERG CONSERVATORY OF MUSIC
9028 Charlotten Strasse, Berlin, W.
91PRINCIPAL TEACHERS
92SINGING: Mme. Mathilde Mallinger, (Royal Chamber Singer) Mme. Maria Jpes-Speet, Frieda Barthold (of the Royal Court Opera), Elisabeth Schumann, Maestro Franz Emerich, Gustav Friedrich, Dr. Alfred Hassler.
93PIANO: Fritz Masbach, Marie Barnowa-Malmgren, Maria Léo, Eduard Behm, Theodor Prusse, Franz Sittig. VIOLIN: Paul Elgers, Richard Hagemaister, Otto Nikitits. CELLO: Leo Halir. HARP: Julius Foth. HARMONY AND COMPOSITION: Otto Taubmann, Eduard Behm. OPERATIC CLASS: Georg Vollertun.
94SCHOOL OF ACTING: Jacques Burg.
95Instruction from start to finish. Full course or single branches. Instruction in all branches given in the English language. Pupils may enter at any time. Prospectus free on application.
97Directors {Paul Elgers
98Fritz Maasbach
100KIRK TOWNS
101BARITONE
102Chief Assistant of GEORG FERGUSSON
103BERLIN, W. MUNCHNER ST.
105PIANO SCHOOL FOR THE LESCHETIZKY METHOD
106AND SCHOOL OF INTERPRETATION
107Pupils received in the house and practice supervised. In charge of MRS. POTTER-FRISSELL, pupil of Stepanoff, Prentner (certificated) and Leschetizky. Highly endorsed by Emil Sauer and leading Dresden musicians. Dunning System of Improved Music Study for beginners also represented. Instructor in Ehrlich's School of Music, Dresden. Apply Nürnbergstr. 54, Pt. r. DRESDEN one of two readings
108Pupils received in the house and practice supervised. one of two readings
109In charge of MRS. POTTER-FRISSELL, pupil of Stepanoff, Prentner (certificated) and Leschetizky. Highly endorsed by Emil Sauer and leading Dresden musicians. Dunning System of Improved Music Study for beginners also represented. Instructor in Ehrlich's School of Music, Dresden. Apply Nürnbergstr. 54, Pt. r. DRESDEN one of two readings
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