Scan 9
Musical Courier 1907-11-20: Vol 55 Iss 21, 1907
40 lines. Read by computer on 23 September 2026. Printed page 10. See the scan on archive.org.
1understand such a faultless technical command at her tender age; she plays with the ease of a Sarasate. The success of both children with the public was enormous.
3At his second recital Emil Sauer again delighted a very critical audience. His interpretation of a program comprising works by Bach, Mendelssohn, Schubert, Schumann, Raff, Stramboli, Liszt, Strauss-Schulz Eyler was highly entertaining. It could not be otherwise as played by such a great artist as Sauer. He has the real piano magic, possessed by but few. He had a large audience and gained enthusiastic applause. He will give a third concert next Monday.
5A complete fiasco was the lot of Frances Alda, coloratura singer, at Brussels, who made her debut at a large concert given in the Philharmonic with the Philharmonic Orchestra, under the direction of Alexander Birnbaum, conductor of the Lausanne Symphony Orchestra. In the "Traviata" aria her technic was faulty and her trill uneven, the tone wavered and her intonation was untrue. She was heard to somewhat better advantage in Gluck's "Divinité du Styx" and an aria by Catalani. She failed, however, even in these works, to retrieve herself, and the impression, as a whole, was far from satisfactory. Birnbaum, who has repeatedly been heard here as a conductor, remained the redeeming feature of the concert. Tchaikowsky's "Manfred" symphony is a very long and exacting work, but his reading of it was very creditable.
7Kathleen Parlow has become a prime favorite with the public and now plays to crowded houses. Her fourth concert, in the Bluthner Hall, with the Mozart Orchestra, drew a large audience last evening, and in the Wieniawski and Glazounow concertos, Beethoven's F major romance and Paganini's "Moto in Perpetuo," she again dazzled by her extraordinary technical facility and certainty, and her manly and vigorous interpretation. She plays more like a man than a woman, her style being essentially virile. I was pleased to note that she did not resort so much to the cheap sliding tricks which she employed in the "Othello Fantasy" at her last concert to such an extent. This habit of sliding with one finger was still occasionally indulged in, however, and is her one great fault—a fault she should speedily overcome. Miss Parlow is a violin genius of the highest order being today, in my opinion, the greatest living woman violinist. Why then mar her otherwise so admirable playing with such unnecessary bad habits?
9A Reisenauer memorial concert will be given to-morrow noon at Bechstein Hall. Otto Lessmann, an intimate friend of the lamented artist, will deliver a speech, Eva Lessmann will sing six of Reisenauer's songs, while Arthur Rheinhold and Sergei von Bortkilwicz will play three of his piano pieces for four hands. The program will be opened with Liszt's "Funeralles."
11The members of the American colony in Berlin are filled with righteous indignation at the outrageous utterances attributed to Geraldine Farrar against her native country in the Lokal Anzeiger of last Sunday, October 27. Her alleged assertions are so false and so disgraceful that every one with any feeling of patriotism is horrified. In the article in question she says, among other things, that there is no art whatever in America, that Americans are utterly lacking in understanding and appreciation of music, that a career there is impossible, that our country is politically corrupt, and that it will never do anything in music till it adopts the German form of government.
13After tearing her native land to pieces in this way, the alleged interview goes on to sing—all the 24 keys—unqualified praise of Germany, especially of Berlin, declaring that it is the only city in the world where art is really appreciated. I should have credited Miss Farrar with more intelligence. The reasons for her declarations against America and for Berlin are too apparent. Scores of Americans have spoken to me about the matter during the week and each one said it was clear that Miss Farrar was trying to revenge herself for her American fiasco, and at the same time to endear herself again to the Berlin public by flattery. If true the fabric is so threadbare that a blind man could see through it.
15There can be no doubt that the Berlin public has cooled off in its enthusiasm for Miss Farrar since it has become generally known here that America refused to acclaim her a great singer. I recently attended a "Mignon" performance at which she sang Mignon's Lied better than I have ever heard her sing, yet not a hand was raised in applause. Formerly when she was a great favorite here, she was not content but sighed for other worlds to conquer, but now that she has discovered that she can repeat her Berlin success in no other music center, she longs for her old standing and declares she will remain here.
17Last season it was thought that the flood-tide of Berlin concerts had been reached, but with three new halls there is a decided increase this year. Eight and ten concerts a night is nothing out of the common now, and conditions here are such that most débutantes might better not appear at all. They play, of course, for the press, and the critics are so occupied with more important musical affairs that frequently a newcomer has no mention whatever in the papers. What can a critic do when there are ten concerts and when they all begin at 8 o'clock? They are not here for the purpose of furthering the interests of these débutantes, the majority of whom are mediocrities anyhow, but for the purpose of giving their readers an interesting picture of the Berlin musical life in general. So it comes about that many concerts are given by newcomers of which no notice is taken whatever in the papers. This is the best way to weed out the mediocrities and when it becomes generally known that they are likely to get no mention these débutantes will keep away from Berlin.
19Anton Foerster will give three piano recitals at Bechstein Hall on November 13, January 8 and March 14. The program of the first concert will consist of the Schumann F sharp minor concerto, Beethoven's rondo, op. 51, the Scharwenka variations, several Chopin numbers, Schumann-Liszt's "Auf dem Wasser zu Singen" and the Liszt chromatic galop.
21Prince Nicolas Esterhazy has placed himself at the head of a committee which has set for itself the task of collecting a sum for the building of a memorial church in honor of Franz Liszt at his birthplace, Reading, Hungary. The church is to be finished in four years' time and the formal dedication ceremony is to occur on October 22, 1911, Liszt's one hundredth birthday.
23Julius Klengel, the famous Leipsic master of the cello, will appear at the new Scharwenka hall next Monday evening. Klengel has not been heard in Berlin for several years. Unfortunately such important concerts as the Second Panzner "New Philharmonic," first concert of the Stern Singing Union under Fried and the third recital of Emil Sauer, besides numerous events of less importance occur the same evening.
25Gottfried Galston was the soloist of the last Mengelberg concert at Amsterdam; he played the Brahms D minor concerto, the same work he will be heard in here at the next Nikisch Philharmonic, scoring a pronounced success.
27Dr. Ludwig Wuehllner will take part in the performance of Berlioz's "Lelio, or The Return to Life," about to be given in the Philharmonie, in the mask of Berlioz himself. Since its first performance with Berlioz at Weimar, this work has not been given in Germany in its original shape, for it gave rise to various difficulties. The chief role is given by an actor who returns to life from a hashish dream or an unsuccessful attempt to commit suicide, as others have it, and who accompanies all the moods expressed by the music by words and gestures. This person is meant to be Berlioz himself, and Dr. Wuehllner's creation of this remarkable work is awaited with much interest. The orchestra remains invisible throughout, which only tends to heighten the creepy effect.
29ARTHUR M. ABELL.
31ALEXANDER Petschnikoff VIOLIN-VIRTUOSO Will instruct talented pupils at Berlin. APPLY: BUREAU WOLFF Flotwellstrasse (No. 1) BERLIN, GERMANY HOWARD D. SALINS COMPOSER-DIRECTOR-LECTURER Teacher of Theory, Composition, History of Music. Mark Gordon, Solo Violinist. Address care of Mr. Howard D. Salins. Motzstr. 21. 14. Berlin W AUGUST SCHARRER for past three years conductor Berlin Philharmonic Orchestra, is now free for orchestra engagements. A limited number of talented pupils in conducting, interpretation and composition will be received. BERLIN—Wilmersdorf Rosberitzer Str. 1
33MAESTRO FRANZ EMERICH VOCAL INSTRUCTION and MADAME TERESA EMERICH PUPILS PREPARED FOR THE OPERATIC AND CONCERT STAGE Some Distinguished PUPILS of MAESTRO and MME. EMERICH. CAVALIER MARIO SAMMARCO, the famous Italian Baritone. FRANZ EGENIEFF, Baritone of the Berlin Comic Opera and Amfortas of the Savage "Parsifal" Tour CHARLES DALMORES, Dramatic Tenor of the Hammerstein Opera, and the Lohengrin of next year's Bayreuth Festival. FRANCIS MACLENNAN and *Mme. Macleann-Easton. *HARRIET GÉNÉ, Mezzo-Soprano of Berlin Comic Opera, at present on tour with Savage "Butterfly" Company. FLORENCE WICKHAM, Mezzo-Soprano of the Schwerin Royal Opera and Kundry of Savage "Parsifal" Tour. INSTRUCTION GIVEN IN ENGLISH, GERMAN, FRENCH AND ITALIAN The names marked * are those of pupils of Mme. Emerich. BERLIN, W., Nurnberger Platz, 1
35GLENN HALL TENOR Address Concert Direction Hermann Wolff Flotwell Str. 1, Berlin. W. PERMANENT ADDRESS: BARBAROSSA STR. 42, BERLIN, W.
37KIRK TOWNS BARITONE Chief Assistant of GEORG FERGUSON BERLIN, W. MUNCHNER ST.
39EDGAR STILLMAN-KELLEY COMPOSER STUDIO ADDRESS: Tauenzien St., 19A' Berlin, W. GEORG FERGUSON BARITONE. Vocal Instructor KLEIST STRASSE 27, BERLIN W. MRS. Wilhelm Eylau PIANO INSTRUCTION. Martin Luther St. 88, Portal II BERLIN, W. MARIE BARINOWA-MALMGREN PIANO INSTRUCTION "Barinowa is a star of the first magnitude"—Tageblatt BERLIN W. ROSENHEIMER ST. 35 ARTHUR NEVIN Composition and Song Coaching BERLIN W. Barbarossa Str. 52 PIANO SCHOOL FOR THE LESCHETIZKY METHOD AND SCHOOL OF INTERPRETATION Pupils 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 Nurnbergerstr. 54. Pt. r. DRESDEN
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