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Musical Courier 1907-12-04: Vol 55 Iss 23, 1907
83 lines. Read by computer on 23 September 2026. Printed page 10. See the scan on archive.org.
1DE PACHMANN'S SECOND RECITAL.
3Vladimir de Pachmann gave his second recital of the season at Carnegie Hall on Tuesday afternoon, November 26, with the following Chopin program:
5Sonata, op. 25, B flat minor.
6Prelude, op. 28, No. 20, C minor.
7Prelude, op. 28, No. 22, G minor.
8Prelude, op. 28, No. 23, F major.
9Prelude, op. 28, No. 24, D minor.
10Nocturne, op. 37, No. 2, G major.
11Polonaise in E flat minor, op. 26, No. 2.
12Fantaisie Impromptu, in C sharp minor.
13Ballade, op. 47, A flat.
14Barcarolle, op. 60, F sharp.
15Mazurka, op. 67, No. 4, A minor.
16Etude, op. 25, No. 9, G flat.
17Grande Valse, op. 64, No. 2, C sharp minor.
18Tarantella, op. 43, A flat.
20In a scheme of the foregoing kind, embracing exclusively works by Chopin, De Pachmann stands sui generis, and the best proof of this statement is contained in the fact that no one but he could, with a Chopin program, draw so large an audience to Carnegie Hall as attended at this recital.
22The little magician was at the top of his pianistic form, and he charmed from the cold ivory keys tones rich and luscious and warm, the while he declared the music with subtle nuances and ever changing moods as befitted the measures he was playing—now tender, now whimsical, and again passionate or strangely moving. It is difficult to speak of De Pachmann's art in terms of technic, dynamics, modulation and tempi, for those elements are glamored over so poetically with the player's personality and fascinating musical delivery that mere mechanism seems to have no place whatever in his performances. De Pachmann interprets piano music solely through his senses, and therein lies the secret of his power to fascinate and hold his hearers, particularly those of the feminine gender. Bald formalism and academic exactness De Pachmann leaves to other pianists, thereby revealing a not inconsiderable share of wisdom.
24Of last week's program there is no need to say that this one thing or another was played best. Every number had its own peculiar interest and was invested by De Pachmann with the full flavor of his versatile fancy and his extraordinary sense for beauty of tone and loveliness of contour. The recital was a delight from the first number to the last, and small doubt was left on this subject by the audience, who applauded De Pachmann to the echo, forced him to interject encores into the regular program and play at least half a dozen numbers after its conclusion. De Pachmann has never enjoyed a fuller triumph or one better deserved than that of last week.
26In all these extraordinary details of pianistic workmanship and poetic fancies De Pachmann had the co-operation of a Baldwin grand piano, through which he made his characterizations manifest to the fascinated listeners. It was apparent to the audience that he himself was fascinated by the grand piano he was playing, and, in fact, he could not have been con amore unless his piano was con amore with him.
28Edward Bromberg in Troy.
30The singing of Edward Bromberg, at his recent appearance in Troy, N. Y., aroused much favorable comment in the press of that city. All four of the daily papers published extended reports. Brief extracts read as follows:
32Mr. Bromberg proved to be a singer of the best type. His voice was strong and true, and had the pleasing quality of impressing the listener with the feeling of great reserve. He was received with enthusiasm at every appearance, particularly in his last set of songs.—Troy Record, November 13, 1907.
34The assisting singer was Edward Bromberg, who has a noble voice, full toned and well controlled.—Troy Press.
36It was in prefacing two Russian folk songs in the language—a chant of the barge haulers on the Volga and a peasant bride's melody—that Mr. Bromberg gave a unique lesson to the young organization which he was assisting of the value of music as a comment upon life, apart from the skill shown in the performance.—Troy Times.
38Edward Bromberg, the baritone, has a voice that grows upon the hearer with every number. His method is fine and he sings with good interpretation and fine control. His second group contained two songs that were Oriental—two songs sung in Russian.—Troy Evening Standard.
40A MORNING IN EBERLEIN'S ATELIER.
42Gustav Eberlein, the famous German sculptor, and Madame Eberlein arrived in New York last week on the Augusta Victoria, having crossed the ocean as guests of the Hamburg-American Line. Professor Eberlein and Arthur M. Abell, Berlin correspondent of THE MUSICAL COURIER, are good friends. In the photograph we see an interesting group at Eberlein's atelier in Berlin. The great sculptor is at work upon a statue of Carla Abell, the nine year old daughter of Mr. and Mrs. Abell. The child is already celebrated in the German capital as a fancy dancer of rare grace and fantasy. Seated on the box on either side of Carla are Mr. Abell, playing the violin, and Mrs. Abell, holding the little girl's foot. The two ladies standing are Madame Eberlein and Madame Gustav Freitag, the widow of the famous author of "Soll und Haben." The three young ladies are Miss Werder, a friend of the Eberleins, seated in the foreground, and the Misses Freitag in the background. The two gentlemen on the right are Dr. Friedmann and on the left Dr. Schleich, the distinguished surgeon, whose remarkably lifelike bust by Eberlein, which is seen in the picture, was one of the chief features of this year's International Art Exhibition at Berlin.
44American Musical Directory.
46(From the San Francisco Musical Review.)
48The American Musical Directory for 1907-08 has been received and contains several features that were absent in former editions. This very useful publication should be included in the library of every musical manager, every concert-giving artist, every artist who intends to give concerts, and every one interested in the progress of music and the improvement and growth of musical clubs in America. It is absolutely impossible to be accurately informed regarding musical club life in America without the American Musical Directory. The directory contains a list of musical societies and clubs, music houses, local managers, churches, orchestras, bands, etc., according to States, and this list is revised every year. The directory is published by Louis Blumenberg, St. James Building, New York, and the price is $2.50.
50MacDowell Benefit December 12.
52By special request, Augusta Cottlow will play the "Tragica" sonata of MacDowell, at the benefit recital for the MacDowell Fund which the Women's Philharmonic Society will give at Mendelssohn Hall, Thursday evening, December 12.
54Victor Harris to Accompany Anne Roberts.
56Victor Harris will be the piano accompanist at the song recital which Anne Roberts will give at Mendelssohn Hall, Monday afternoon, December 9. Arthur Argiewicz, violinist, will assist.
58Success of a Fergusson Pupil.
60George Reed continues to win golden opinions from even the most hardened of critics in Trier, and his rendering of Canio in Leoncavallo's "Bajazzo" on November 3, at the Trier Town Theater aroused great enthusiasm on the part of the large audience. Mr. Reed is a pupil of the famous American teacher, Georg Fergusson, resident in Berlin, who can add Reed's successes to the lengthy list of honors achieved by his scholars.
62The following are some of the extracts from Trier papers, both on the above and on his participation in "The Flying Dutchman":
64Mr. Reed's "Bajazzo" was a great achievement. One is more or less accustomed to a melancholy or choleric Canio. Reed differs from this; he draws him immediately as a joyous cracker of jokes. His secretly threatening "Scherzet immer" shows him as a man of great warmth of feeling, resolved to guard his honor by all means in his power, and his transformation into a husband deceived in his holiest conceptions took place with elementary forcefulness. Our tenor sang with a great depth of passionate warmth and his acting was quite equal to the standard of his singing.—Trier'scher Volksfreund, November 4, 1907.
66Mr. Reed's Canio was an event in the history of the development of our theater. His voice is of a register and purity rarely found on smaller stages. But even higher than nature's rich vocal gifts, which have been brought up to their very highest plane by study and loving care, do we place his whole conception of the figure of this village comedian. Mr. Reed is a character actor of the very highest quality, and a great future most surely awaits him.—Allgemeiner Anzeiger, November 5, 1907.
68That the "Bajazzo" stood artistically higher than the renderings of "Cavalleria" is in the first place due to Mr. Reed, whose Canio was an excellent performance. We have recognized that he not only possesses a delightful tenor, of colossal power and splendid schooling, but that he is also an eminent actor, a born tragedian. His rendering of the part was most impressive and the fullness of his voice astounding.—Trierische Zeitung, November 4, 1907.
70Mr. Reed played the "Bajazzo" wonderfully well. His performance grew in powerfulness with every phase of the work up to the heart rending catastrophe; his voice, too, developed its power and realistic expression in a like measure. He was given a great ovation.—Trierische Landes-Zeitung, November 4, 1907.
72Erik, in "The Flying Dutchman," is a somewhat insipid figure, which few of our tenors know how to properly handle. Mr. Reed surprised us by his remarkably artistic interpretation, both in voice and playing, of the amorous huntsman. We have not yet had an Erik in Trier equal to his.—Trierische Zeitung, October 28, 1907.
74Our esteemed tenor, Mr. Reed, gave the ungrateful part of Erik an harmonious clothing, and his rich voice was heard to perfection, especially in the cavatina. His acting was in the best of taste and was characterized by a discreet reserve.—Trierische Landeszeitung, October 28, 1907.
76Ziegler Pupils' Musicale.
78Advanced pupils of Anna E. Ziegler were heard at the last musicale, Sunday afternoon, November 24, to which a large number of guests had been invited by Madame Ziegler. William Hirschmann, baritone, sang the prologue from "Pagliaccio"; "Aufenthalt," by Schubert, and "Der Asra," by Rubinstein. As a member of the New York Recital Quartet, Mr. Hirschmann also assisted in the quartets "Oh, Hush Thee, My Baby," by Sullivan; "Maiden with the Lips So Rosy," by Gall, and "Carmena," by Wilson. The other members of the Quartet—all pupils of Madame Ziegler—are Susie Levenberg, soprano; Winifred Phillips, alto, and Louis Vecchio, tenor. Mr. Vecchio, besides the ensemble numbers, sang three songs by Tosti. Hannah Miller, a soprano from the Ziegler studio, sang an aria from the "The Prophet," and the same singer and Mr. Hirschmann united in two duets—"Autumn," by Mendelssohn, and "The Crucifix," by Fauré. These musicales take place at the Ziegler studio-residence, 163 West Forty-ninth street.
80Phonetic.
82A cable announces the suspension at Weimar of Chief Conductor of the Opera Krzyzanowski. The step was taken because he had engaged, without consultation, Peter Raabe as assistant conductor. The international aspect of this affair is not due to the adjournment of The Hague Peace Conference.
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