Books › Musical Courier 1909-06-02: Vol 58 Iss 22, 1909 › scan 10
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Musical Courier 1909-06-02: Vol 58 Iss 22, 1909
42 lines. Read by computer on 25 September 2026. Printed page 11. See the scan on archive.org.
1JULIUS CASPER'S EUROPEAN SUCCESS.
3Many Americans go to Europe to win laurels on the concert platform of the great continental art centers, but few, indeed, make such a brilliant and auspicious beginning as did Julius Casper, of New York. This young violinist made his debut in Berlin, that Mecca of musicians, on April 15, in Beethoven Hall, playing to the accompaniment of the Philharmonic Orchestra the Bach A minor, and the Brahms and Beethoven concertos—a program which, in its severity and enormous demands, both on the technical and musical resources of the performer, is a herculean task, even for the greatest and most experienced violinists. The young American was considered presumptuous by connoisseurs for attempting such a big program, when it was announced, but after he had played they changed their opinions, for he acquitted himself of his difficult task admirably and praise was showered upon him from all sides. It was an exceptionally brilliant debut. Next season the youthful artist will concertize extensively on the continent and his career will be watched with interest.
5Julius Casper was born June 23, 1886, in New York. At six years of age he entered the National Conservatory of Music, of New York, of which Dvorák was at that time director. The boy was among the competitors for the free scholarship then open, and, owing to his extraordinary talent, he was selected from a multitude of applicants. Under the tutelage of the renowned violinist, Leopold Lichtenberg, a favorite pupil of Wieniawski, Casper made rapid strides and later became the soloist and concertmaster of the conservatory. At its regular concerts, given by the pupils in conjunction with members of the New York Philharmonic, in Madison Square Garden Concert Hall, Mendelssohn Hall, Academy of Music, Brooklyn; Kruger's Auditorium, Newark, and other places, the talented young violinist never failed to make a deep impression upon the audiences. In September, 1905, he went to Prague, where he studied for some months with Professor Sevcik, who was so delighted with his work that he once made the remark that he "now had the good fortune to have another Kubelik as a pupil." He intended to bring Casper out himself, but the young man's mother, who then was ill, at a sanatorium in Goebersdorf, Silesia, preferred to have her son continue his studies in Berlin. On March 8, 1906, he played before Joachim, who pronounced his technic as already finished. In April, 1906, he began study with Professor Halir, and in October of the same year he entered the Royal High School of Music, where he was further broadened and developed in his art. On various occasions last year he played the Beethoven concerto with the Hochschule Orchestra, under the direction of the late Professor Haussmann, exciting the latter's admiration. A date had been set last July on which he was to play the Brahms concerto with the Hochschule Orchestra, when a telegram summoned him to the bedside of his mother in Berka, Thüringen. Her illness had reached a critical stage. He took her back to New York, where she died last September. It was she, a pupil of Liszt, who inspired the boy with love and enthusiasm for his calling. Her father, the late Dr. D'Utassy, of Budapest, was a doctor of medicine and philology and a violinist at the Austrian Court. Incidentally, it may be mentioned that his mother and the great Joachim's mother were sisters; that is, Julius Casper's great-grandmother was the sister of Joachim's mother.
7Appended are excerpts from the Berlin criticisms on Julius Casper's initial Berlin concert:
9On Thursday Julius Casper played at Beethoven Hall the Bach A minor concerto and the two great concertos in D major by Beethoven and Brahms. The young man possesses decided violinistic talent and his feeling is that of the true musician, it being unaffected and natural. He is to be especially commended for playing so well the Beethoven concerto, the greatest and most difficult test of violin literature. In the first allegro especially the tradition of Joachim was easily recognizable. It is self understood that Mr. Casper did not succeed in effecting the numerous accelerandos and ritardandos of the tempo in the ideal manner of the late most distinguished of violinists; on the whole, however, he suggested the manner in which the master played the first movement, and Professor Halir, who has brought his pupil thus far, deserves particular mention on this account. Technically, Mr. Casper is far advanced and he succeeded admirably in the difficult passages. The power of his tone will probably grow and we can reckon him among the talents who have prospects.—Vossische Zeitung.
11On last Thursday at Beethoven Hall a young violinist, Julius Casper, attracted attention with the beautiful, soulful tone which he drew from his instrument. At the same time a big technic was displayed, which, to be sure, still lacks the last touch. The program, which contained violin concertos by Bach, Beethoven and Brahms, bespeaks an artist of high aspirations.—Reichsanzeiger.
13The young violinist, Julius Casper, introduced himself at Beethoven Hall very successfully. His offerings were the Bach, Beethoven and Brahms concertos, played to the accompaniment of the Philharmonic Orchestra, under Kunwald. They showed that he has been trained technically in a good school and that he is complete master of the tasks which he set for himself; his playing also gave an impression of decided talent and good judgment in a musical way. This was especially true of the Beethoven concerto in the Larghetto, which he played with a beautiful singing tone and warmth of expression, though a little more temperament could have been wished for on the whole. However, the young artist will gradually acquire what he yet lacks in this respect.—Börsen Courier.
15His tone is big and expressive and his playing is elegant and clean and he knows how to add color and soul to his delivery.—Norddeutsche Allgemeine Zeitung.
17A very capable violinist, Julius Casper, introduced himself yesterday at Beethoven Hall. Accompanied by the Philharmonic Orchestra, he played the Bach, Beethoven and Brahms concertos, a program that called for artistic maturity. Technically, Mr. Casper proved himself to be fully equal to his task; he possesses a well-trained left hand and he manipulates the bow firmly and surely in all kinds of bowing. The musical side of his playing also revealed good natural gifts and a sensible schooling.—Lokal Anzeiger.
19Julius Casper appeared before our public for the first time as a violinist of great promise. A highly developed technic and a soft, sweet tone are the principal attributes of his playing.—Volks Zeitung.
21On Thursday Julius Casper, a young violinist, played a presumptuous program that would have spelt danger to a less capable musician. It is indeed no small assertion when one claims that Mr. Casper played these works in a reliable manner. He was fully equal to the technical difficulties and there was nothing to be censured in his conceptions.—Kleine Journal.
23Julius Casper, a violinist hitherto unknown here, played in Beethoven Hall with the Philharmonic Orchestra. I heard him in the Brahms concerto, which he performed with technical mastery and with a conception full of intelligence, though one could wish that he had a bigger and fuller tone. The young artist could not complain of lack of applause.—National Zeitung.
25The tone which he draws from his instrument is not exceptionally large, but it is free from all disturbing elements; it is plastic, clear and pure. His technical powers are well developed and his delivery revealed warm feeling. The intelligent conception which he has in addition further enhances the excellent impression which his playing made.—Börsen Zeitung.
27The young violinist, Julius Casper, was heard in Beethoven Hall with the Philharmonic Orchestra. He is a correct and capable artist.—Berlin Zeit am Mittag.
29An able and very promising violinist is Julius Casper, a German-American. He played the difficult Beethoven concerto surprisingly well, with clean technic and a soft, warm, vital tone.—Die Wahrheit.
31The violinist, Julius Casper, who, with the assistance of the Philharmonic Orchestra, played the Bach, Beethoven and Brahms concertos, gave with the reading of his difficult program a praiseworthy violinistic performance. Technically it was very finished and in point of conception it was also satisfactory.—Berlin Intelligenz Blatt.
33Julius Casper, of New York, the young violin virtuoso, achieved a remarkable success at his debut on the 15th at Beethoven Saal. A large assembly, including many army officers, university professors and society leaders were present and gave him an enthusiastic reception, while the Berlin critics, who are noted for their severity, have all agreed that it was a very pleasant performance and predicted a great future for Mr. Casper.—Continental Times.
35Loring Club Resumes Concerts.
37The following tribute to the late William C. Stadtfeld, former conductor of the Loring Club, of San Francisco, appeared in the San Francisco Call of May 16: "Since its last concert, which completed the first half of the present season, the Loring Club has had the great grief of losing by death its director, William C. Stadtfeld, whose active connection with the club, as member, secretary, and later director, dated from the very early years of the club. Apart from Stadtfeld's fine musicianship his personal popularity with the members was exceptionally strong, so that his death has been a personal grief to each member.
39"During the time of his critical illness the club adjourned from week to week."
41The Loring Club resumed its activities in the concert line Tuesday evening, May 18, at Christian Science Hall, San Francisco, when a varied and interesting program was ably conducted by Wallace A. Sabin, the well known organist and musician of the Pacific Coast metropolis, who has accepted the invitation to direct the noted old organization of male choristers for the remainder of the present season.
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