Books › Musical Courier 1909-05-05: Vol 58 Iss 18, 1909 › scan 10
Scan 10
Musical Courier 1909-05-05: Vol 58 Iss 18, 1909
60 lines. Read by computer on 26 September 2026. Printed page 11. See the scan on archive.org.
1cores without number. Although Macmillen has been absent from England for some three years, his name and talents had apparently not been forgotten, as the large audience attested. As his playing called forth enthusiastic praise when he was last in London, Macmillen had no prejudices to remove. It was just a question as to whether he would achieve all that he promised when next he came among us. "That he has done so, to a remarkable degree," says a leading London critic, "was amply proved last night. In short, America has reason to be proud of her representative violin virtuoso, and all the more so because Macmillen combines the highest artistic aims with his natural executive faculty." If there is one particular outstanding impression left of his playing it is that there is much more in reserve than has been expressed. This artistic restraint, for the time being, doubtless disappoints many whose pleasure is in the obvious, but such listeners have only to wait till their turn comes, so to speak, and Macmillen, the virtuoso, will supply, with an ease that is scarcely surpassed among living violinists, all that sensation lovers may require. In the Mendelssohn concerto, which opened the program, the young violinist gave the first movement in a somewhat too guarded spirit, doubtless due, in a measure, to nervousness. The slow movement was, however, exquisitely played, making a fine contrast to the rapid pace at which he took the finale. Goldmark's concerto in A minor showed Macmillen in many fine moments of artistic fancy and executive skill, and a brilliant accent of Vieuxtemps' popular concerto in D minor brought the concert to a close. The London Symphony Orchestra, under the conductorship of Dr. Frederic Cowen was responsible for the accompaniment. Macmillen will play his first recital at Queen's Hall on May 4. The program follows: Andante and rondo, Mozart; concerto in D minor, Wieniawski; aria, Schumann; valse caprice, Saint-Saëns-Ysaye; barcarolle, Debussy; mazurka, Zarzycki; "To a Wild Rose," MacDowell-Hartmann; minuet, Mozart; "Moise" fantasia (for G string alone), Paganini. Charlton Keith will accompany at the piano.
3A new department has been added to the Royal Manchester College of Music for the special training of music teachers, with Dr. Walter Carroll as the teacher of the "art and practice of teaching."
5The opening night at Covent Garden Opera next Monday will bring the first production in England of "Samson and Delilah" in operatic form. Madame Kirkby Lunn and Charles Fontaine will sing the title roles.
7At Queen's Hall last Saturday afternoon another important concert, one in the series being given by the London Symphony Orchestra, took place. For this concert Emil Mlynarski was the conductor, so it goes without saying that the interpretations of the various program numbers was of the highest order. Mlynarski has been in London previously and has always made a fine impression by his work, but on Saturday the orchestra played as if inspired—and the London Symphony Orchestra is a fine one—giving their best efforts to the wishes and ideas of the conductor. The program opened with R. Strauss' "Tod und Verklärung," which was followed by Grieg's piano concerto in which Olga Samaroff played the solo part. She also was heard here last spring, and by her playing at that time made a very pronounced success. Last week only added to the high opinion of her talents that she had previously obtained, and the delicacy, charm and beauty of her playing were fully enjoyed and appreciated by every musician present. Tschaikowsky's fifth symphony closed the program, the playing of this number being a remarkable one and long to be remembered, quite the finest ever heard here. There was a scherzo by Stojowski also included in the scheme of the afternoon.
9A. T. King.
11MUSIC IN NAPLES.
12NAPLES, Italy, April 14, 1909.
13Monday evening, April 12, Thomas' opera, "Hamlet," was presented for the first time this season at San Carlo. Owing to the presence of the eminent Italian baritone, Titta Ruffo, in the title role, the price of seats was considerably raised; however, the vast edifice was completely filled. The performance, on the whole, was most uneven. Interest, of course, centered in the visiting artist, Ruffo, who gave an admirable interpretation of the despondent Dane. The Neapolitans were aroused to the highest pitch of enthusiasm after the drinking song, which Ruffo was obliged to repeat. Graziella Pareto appeared to advantage as Ophelia, histrionically. However, at times, she sang in poor taste. The role of the Queen was in the hands of the contralto, Frascani, who deservedly enjoys much popularity with the Neapolitans. The orchestra and chorus, fatigued perhaps by an afternoon performance of "Aida," did very poor work. Zuccani conducted.
15The season at San Carlo will be brought to a close by the several operas in the repertory of the baritone Ruffo—"Barber of Seville," "La Traviata," "Aida," and Boito's "Mefistofele" have already been announced.
17Kreisler and Gerardy have recently favored Naples with recitals. Both artists drew large audiences.
19During the past season Beatrice Wheeler and Caroline White, both American pupils of Maestro Sebastiani, have appeared with success in leading parts at San Carlo. Miss Wheeler possesses a splendid mezzo soprano voice and such important roles as Carmen and Amneris have several times been intrusted to her, as well as numerous minor parts. Miss White has also sung many roles during the winter. On Monday afternoon, April 12, she sang the title role in "Aida" for the tenth time this season. She has a fine dramatic soprano voice, which she handles with considerable skill. She also has had several appearances as Micaela in "Carmen," Margherita and Elena in Boito's "Mefistofele," as Salome in the opera "Battista," by the Italian priest, Giocondo Fino; as Gutrune in "Götterdämmerung," and as Santuzza.
21On Tuesday afternoon, April 13, the well known baritone, Kaschman, appeared in a vocal recital with the soprano, Emma Druetti. The artists presented, for the most part, an operatic program, embracing works from Pergolesi to Von Weber. Both Kaschman and Druetti are important members of the San Carlo company. It is rumored that the latter has received inducements from the Metropolitan Opera management for next season in New York.
23A report is current that Cleofonte Campanini may become director of San Carlo for next season. C. R.
25Spertrino, who conducted Italian operas at the Metropolitan this past winter, will not return to New York next season.
27Mme. von KLENNER
28GARCIA VOCAL METHOD
29Announces a Summer School for Vocalists
30Special Courses in Methods of Teaching, Lectures and Recitals
31POINT CHAUTAUQUA, CHAUTAUQUA LAKE, N. Y.
32BEGINNING JULY 1st
33For Terms, Etc., Address 301 West 57th St.
34COACHING
35Studio: 203 W. 108th Street
36Phone: 10127 Riverside
38EDITH HAINES-KUESTER
39CONCERT ACCOMPANIST
41ALICE MERRITT-COCHRAN, SOPRANO
42113 Macon St., Brooklyn, N. Y.
43TENOR—MR. AND MRS.—SOPRANO
44Under Management of
45ARTHUR F. GOODRICH
462 West 39th Street
48VAN YORX
49STUDIO: 434 Fifth Avenue, Corner 39th Street
51ARTHUR HARTMANN
53THE GREAT VIOLINIST
54ASSISTED BY
55ALFRED CALZIN
56PIANIST
57In America, October to May
58Exclusive Management: HAENSEL & JONES
591 East 42d Street, New York
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