Books › Musical Courier 1907-12-04: Vol 55 Iss 23, 1907 › scan 18
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Musical Courier 1907-12-04: Vol 55 Iss 23, 1907
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1KUSSEWITZKY'S GREAT SUCCESS IN LONDON.
3Appended are more press notices of the concerts of the great Russian contra-bass virtuoso in London:
5A decidedly successful first appearance in London was made at Bechstein Hall yesterday afternoon by Sergei Kussewitzky, a contrabassist who hails from Russia. Born in 1874 at Wyschni Wolotschek, the artist in question entered the Moscow Conservatory at the age of sixteen, hoping to be able to devote the whole of his time to composition. Anxious to obtain a scholarship, he found, however, that none was available save for double bass, and so, fortunately for himself, he was driven to study that particular instrument. Curiously enough, when Bottesini applied for admission to the Milan Conservatory there was only one vacant place, and that was for a double bass student. Mr. Kussewitzky, it seems, soon became enamored of the instrument he had been compelled to learn, and has since made a name for himself as a performer on it in Germany and his native land. It will be recalled that Bottesini used to play on a three-stringed bass and used an instrument of smaller size than the ordinary orchestra double bass. The newcomer, however, prefers an instrument with four strings, one of larger dimensions than that employed by the distinguished double bass player, composer and conductor who died in Paris in 1889. That Mr. Kussewitzky is an admirably equipped performer none could doubt who listened attentively to his playing of an arrangement for double bass of a concerto for oboe by Handel. To the fineness of his execution he called attention in the sarabande and finale; while both the beautiful opening movement and the effective largo were given with a full measure of expression. Afterward Mr. Kussewitzky introduced his own concerto, a work which boasts attractive themes and is skillfully planned to show off the qualities of the solo instrument and the executant. The impassioned slow movement provides very pleasant music, while the fiery finale, which shows the influence of Tchaikowsky, exhibits plenty of life. Following an excellent performance, Mr. Kussewitzky was several times recalled to the platform. He also gave solos by Bottesini, Glière, Laska and himself.—Daily Telegraph, May 23, 1907.
7M. Sergei Kussewitzky, who made a most successful first appearance here yesterday at the Bechstein Hall, is not only a wonderful player on an extraordinarily difficult solo instrument, but a musician of great attainments. From his double bass he draws the most delightful tone, which throws by its rich resonance the cello quite in the shade. His choice of music is an excellent one and his own compositions are of decided worth. His concerto for his instrument has melodic phrases of grace and originality and all the effects are legitimately contrived with purely artistic feeling. M. Kussewitzky played this interesting and most difficult work with wonderful finish, and his harmonies at the close of the slow movement were absolutely startling in their accuracy and curiously pleasing effect. An Old World suite by Handel, in which the simplicity of style was well preserved, and several lighter pieces, including his own pleasing "Humoresque" and "Valse Miniature," were interpreted with particular charm. M. Kussewitzky is not merely a virtuoso with an astonishingly fine equipment, but he plays soulfully and with the feeling of a great artist, and his second recital, which he gives on the evening of May 31, should draw a far larger audience. He is certainly the Bottesini of the present day.—Evening Standard, London, May 23, 1907.
9The Bechstein Hall on Wednesday afternoon of last week was the scene of the debut of M. Sergei Kussewitzky, a contrabassist of the most remarkable powers. The last century produced two conspicuous masters of the double bass, Dragonetti and Bottesini, and it has been left for Russia to produce the legitimate successor of the two great Italian artists. M. Kussewitzky was born in 1874 and at the age of sixteen entered the Conservatoire at Moscow. He at first intended to devote himself entirely to composition, but being anxious to obtain a scholarship, and there being none available except for double bass, he was compelled to take up this instrument. It is due, therefore, purely to chance that Mr. Kussewitzky selected an instrument his mastery of which has since brought him a continental reputation. We must confess that we expected to be astonished by a remarkable technical facility, but we were not prepared for the beauty of tone which the artist produces from every register of his instrument. Unlike his great predecessors, M. Kussewitzky does not play upon a small solo instrument, but relies upon the sonorous qualities of a full-sized orchestral bass. Only in his system of tuning does he branch away at all from the beaten track. The tone that he produces is that of a monster cello, and he makes his unwieldy instrument sing to us or weep or laugh with unerring effect. In a concerto of his own composition the player showed at once that he is a composer to be reckoned with; the work in question is full of dramatic fire and melodic beauty, and was played with a wealth of tone and expression which tempts us to christen M. Kussewitzky the Hollmann of the double bass. The artist was also heard in a concerto by Handel and a group of short pieces by Glière, Laska and Bottesini; but the greatest effect was made in his own concerto, which, in addition to its melodic beauty, simply bristles with difficulties.—Crown, London, June 1, 1907.
11It is known to musicians that the string quartet is reinforced in the orchestra and sometimes at chamber concerts by the double bass, an immense instrument that plays in octaves with the violoncello and had originally three strings. The lowest note of the register was then A below the lines, but the modern (German) instrument has four strings and the range is lowered to double E. Mozart, in the second chord of the overture to "Don Giovanni" (in D minor), uses a derived bass of the dominant (A) and writes C sharp below the lines for the double bass, and often attested by the writer at the Opera House from personal attention. Many years ago, after Dragonetti's death, an artist named Bottesini astounded the public of London with solo performances on this noble instrument, and at the Royal Italian Opera House, Grisi, Mario, and all the leading vocalists came upon the stage to hear him play at a special concert. And now we have to greet another contrabasso, M. Sergei Kussewitzky, a Russian, who gave a first recital at the Bechstein Hall on Wednesday afternoon, May 22, under the direction of Mr. Schultz-Curtins. He uses the modern and improved double bass of four strings and is fully master of his monster machine. He plays more elaborate and florid music than Signor Bottesini and, in short, makes a new thing of the double bass. To the natural sonority of tone is added the rich mellowness of the violoncello and its delightful richness of tone, so that the qualities of the bass strings are happily blended. The execution is highly artistic, the intonation perfect and the phrasing smoothness itself. The program contained an oboe concerto by Handel, a cleverly constructed concerto from the pen of M. Kussewitzky himself, and short pieces by Glière, Laska, Bottesini (a tarantelle) and a charming humoresque composed by the artist. The audience exacted an encore. There was never any monotony of color, but most captivating contrasts of tone. Harmonics were effectively used in the artist's own concerto.—Musical Standard, London, June 1, 1907.
13This was the first important musical event after the short Whitson recess, which was given by this great artist on Wednesday afternoon, May 22, at the Bechstein Hall, under the management of Messrs. Schultz-Curtins and Powell. M. Sergei Kussewitzky, the greatest double bass virtuoso of the present day, was born on June 13, 1874, at Wyschni Wolotschek (Russia), his father being a musician of note. In the year 1890 he entered the Conservatoire at Moscow and at first intended to devote himself entirely to composition; but being anxious to obtain a scholarship, and there being none available except for double bass, he took up this instrument by necessity, as it were. Soon, however, he became so enamored with it that he devoted himself entirely to the development of its possibilities. M. Kussewitzky soon obtained a great reputation as a soloist on this biggest of all string instruments and can only be compared with his great predecessor, Bottesini, who attained a world-wide fame some twenty years ago. When M. Kussewitzky plays on the double bass one imagines to hear a mighty violoncello, with all its delicacy and refinement, and there is no doubt that the London public will take the same interest in his rare art as the musical public has done in Russia and Germany. As may be well expected from the preceding notes, M. Kussewitzky more than satisfied the expectations of his audience by his rendering of the following program, in which he had the valuable cooperation of M. Fritz Lindemann: Concerto for double bass, G. F. Handel; concerti for double bass, S. Kussewitzky; double bass soli, a. Intermezzo, R. Glière; b. Humoreske, S. Kussewitzky; c. Berceuse, G. Laska; d. Tarantella, G. Bottesini; piano soli, a. Preludium et Fugue, in A minor, Bach; Capriccio, Scarlatti; a. Grille; b. des Abends; c. Aufschwung; d. Traumeswirren, R. Schumann.—Violin Times, London, July, 1907.
15Karl Klein in Manitoba.
17Karl Klein, the young American violinist, has played before thousands of music lovers and musicians since his New York debut last Election Day. Some of his recent triumphs were achieved in Minneapolis and up in Manitoba. Some of the Winnipeg critics wrote with real enthusiasm of the player's art. Extracts from extended reviews are as follows:
19What a fascinating performer he is! A restless, nervous youth, without the slightest pretensions of conventionalities or deportment, yet the moment the bow touches the instrument, you realize that you are in the presence of a genius.—Manitoba Free Press.
21Mr. Klein's virtuosity was brilliantly displayed in Saint-Saëns' "Havannaise," in which velocity of the clean cut kind, staccato passages, harmonics and all the routine work of a player thoroughly master of his instrument were employed to delight and charm his hearers. A shout of acclaim from all parts of the hall brought an encore piece in Dvorák's "Humoresque," a delightful treat.—Winnipeg Tribune.
23This artist evidently did not underestimate the musical knowledge of this city, as another famous violinist did last season, and favored his audience with a truly classical program. His opening number was exquisitely played, a concerto in E major by Bach, and foreshadowed the wonderful abilities that he displayed in his following pieces. The next item, "Paraphrase" ("Parsifal"), Wagner-Wilhelmj, again gave Mr. Klein ample opportunities of displaying his wonderful abilities. The last item on the only too short program was a fitting climax to a thoroughly artistic concert, the concerto in D major by Paganini, with cadenza by Wilhelmj. In this Karl Klein displayed wonderful technic and execution, and with the perfect sympathy and feeling that marked his playing throughout, fairly brought down the house. The last movement, unaccompanied, was a really wonderful achievement. He was again given an enthusiastic encore and responded with Bach's air on the G string, which he played magnificently.—Winnipeg Telegram.
25The verdict of the audience as to Mr. Klein's playing was enthusiastic and unanimous, and means all the more when the fact is considered, that to practically the whole of music-loving Winnipeg he was a month ago hardly even a name. Mr. Klein's playing possesses in full measure the three essentials of violin playing—tone, technic and temperament.—Winnipeg Town Topics.
27Hofmann's Second Recital.
29Josef Hofmann gave his second piano recital at Carnegie Hall, on Saturday afternoon, November 30. His program embraced Bach-Liszt's "Chromatic Fantaisie"; Beethoven's "Andante favori"; Mendelssohn's "Rondo Capriccioso"; Rachmaninoff's prelude; Scriabine's F sharp minor sonata, "Poème d'Amour," and two etudes, and Chopin's "Fantaisie Impromptu," B minor mazurka, berceuse, and B minor scherzo.
31Witherspoon's Annual New York Recital.
33Herbert Witherspoon, the basso, will give his annual New York recital at Mendelssohn Hall, Thursday afternoon, December 12. His program will include several novelties, with harp obligati to be played by John Cheshire.
35MUSICAL RECORD OF THE PAST WEEK IN NEW YORK.
37Wednesday evening, November 27, "Les Contes d'Hoffmann," Manhattan Opera House.
38Wednesday evening, November 27, "La Boheme," Metropolitan Opera House.
39Wednesday evening, November 27, Fritz Kreisler recital, Baptist Temple, Brooklyn.
40Wednesday evening, November 27, concert of "Old Music," Mendelssohn Hall.
41Thursday afternoon, November 28, "Carmen" (special performance), Manhattan Opera House.
42Thursday evening, November 28, "Faust" (special performance), Manhattan Opera House.
43Thursday evening, November 28, "Mefistofele," Metropolitan Opera House.
44Thursday evening, November 28, song recital by Dennis O'Sullivan, Carnegie Hall.
45Friday afternoon, November 29, New York Philharmonic public rehearsal, Carnegie Hall.
46Friday night, November 29, "Faust," Manhattan Opera House.
47Friday night, November 29, "Adriana Lecouvreur," Metropolitan Opera House.
48Saturday afternoon, November 30, "Thais," Manhattan Opera House.
49Saturday afternoon, November 30, "Die Meistersinger," Metropolitan Opera House.
50Saturday afternoon, November 30, Hofmann recital, Carnegie Hall.
51Saturday afternoon, November 30, Hambourg recital, Association Hall, Brooklyn.
52Saturday evening, November 30, New York Philharmonic concert, Carnegie Hall.
53Saturday evening, November 30, "Aida" (popular prices), Manhattan Opera House.
54Saturday evening, November 30, "Rigoletto" (popular prices), Metropolitan Opera House.
55Sunday afternoon, December 1, New York Symphony concert, Carnegie Hall.
56Sunday evening, December 1, operatic concert, Manhattan Opera House.
57Sunday evening, December 1, operatic concert, Metropolitan Opera House.
58Monday afternoon, December 2, Hambourg recital, Mendelssohn Hall.
59Monday afternoon, December 2, Carl organ recital, "Old First" Presbyterian Church.
60Monday evening, December 2, "Les Contes d'Hoffmann," Manhattan Opera House.
61Monday evening, December 2, "Der Fliegende Holländer," Metropolitan Opera House.
62Monday evening, December 2, "Martha," Allied Arts Association, Association Hall, Brooklyn.
63Tuesday afternoon, December 3, song recital by Reinald Werrenrath, Waldorf-Astoria.
64Tuesday afternoon, December 3, joint recital by Albert Rosenthal, cellist, and Emily Stuart Kellogg, contralto, Mendelssohn Hall.
65Tuesday evening, December 3, Kneisel Quartet, assisted by Rudolph Ganz, pianist, Mendelssohn Hall.
67Granville as Choir Director.
69Charles Norman Granville, who has become distinguished as a concert singer and teacher of singing in New York, fills yet another role, namely, that of choir director at the Emory M. E. Church, Jersey City. The soloists are: Mrs. J. M. Selleck, soprano; Albert Quesnel, tenor; Charles Norman Granville, baritone. Bula C. Blauvelt is the organist. The chorus choir numbers forty voices. Sunday, November 17, Gaul's "Holy City" was given, and the singers, in addition to the organ, were assisted by Florence Whitpenn, violinist, and R. T. Pond, harpist. The music for Christmas will include numbers from "The Messiah." Mr. Granville will soon be heard in recital at Mendelssohn Hall.
71German Hospital Benefit.
73Shanna Cumming, soprano; Claude Cunningham, baritone; Leo Schulz, cellist, and the New York Arion and Liederkranz united in a fine concert at Carnegie Hall, Wednesday night of last week, for the benefit of the German Hospital. Arthur Claassen and Julius Lorenz were the conductors. Mr. Schulz played numbers by Bruch, Gluck and Davidoff. Madame Cumming sang the "Abscheulicher" aria from "Fidelio." Mr. Cunningham sang "An jenem Tag," from "Hans Heiling."
75Oratorio Engagements for Frieda Stender.
77Frieda Stender, the soprano, is engaged for two performances of "The Messiah" with the London, Ont., Oratorio Society, December 17 (third appearance with this society), and with the York, Pa., Oratorio Society, January 3, 1908. Miss Stender returned to New York last week from a successful concert in Buffalo, N. Y.
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