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Musical Courier 1909-06-02: Vol 58 Iss 22, 1909
16 lines. Read by computer on 26 September 2026. Printed page 9. See the scan on archive.org.
1younger Russian composers are influenced by Tschaikowsky. The Moussorgsky fantasia is a clever piece of descriptive music depicting the nocturnal meeting in a mountain near Kiew of the spirits of darkness with the black god, Tchernobog. It is full of weird effects. Rubinstein attempted to depict a similar idea in the opening of his opera 'The Leman.' Kussewitzky, as a wielder of the baton, won new laurels. In London he now ranks very high as a conductor, and justly so, for he has splendid musicianship, a keen, penetrating grasp of his scores, supreme mastery over the technical resources of the art of conducting, fantasy, imagination, temperament and a sympathetic personality. Add to these attributes the gift of putting himself en rapport alike with orchestra and audience, and we have enumerated practically all the qualities that go to make up a great conductor. And all these qualities the renowned double bass virtuoso undeniably has. The tokens of approval bestowed upon the genial leader were of such a nature as to show that the audience also thought likewise."
3"When Efrem Zimbalist stepped on the stage of Queen's Hall on Wednesday evening the hearty reception accorded him by a large audience left no room for doubt as to the affection that the British metropolis now feels for him. Zimbalist is a violinist of remarkable lyric powers, and he is wholly unspoiled by success (unlike Elman for instance) and is continually growing, he promises to attain great heights. He already is a great performer, although only eighteen years old. Having heard Ysaye in Paris last Saturday evening, and Kreisler here on Tuesday, I naturally made some mental comparisons. The young Russian, with his youth, has not, of course, the authority and the knowledge of effects acquired by long experience on the concert platform, that characterize the playing of his two great colleagues, but the boy is a genius and his playing is replete with powerful qualities. Zimbalist is the antipode of Elman. He has not so much fire and temperament, but he has a more beautiful cantilena and he is of finer artistic fiber. He is, moreover, wholly free from the mannerisms that latterly so mar Elman's playing. Zimbalist has a style as chaste and pure as Joachim's. No more genuine artistic nature, no truer musician exists. In cantabile playing he at times inclines to drag the tempi a bit, but this desire springs from his artistic nature; he treats the violin as an instrument of song, and at every opportunity to 'sing' he makes the most of. Yet he must beware of the tendency and not allow it to become habitual. He gave a noble performance of Bruch's 'Scottish' fantasia and of the Bach chaconne. The latter was marred by the piano accompaniment of Schumann, which was played on the organ. The chaconne, with all due reverence to Schumann's genius, can well stand alone. I do not care for the Glazounoff concerto. There are beautiful parts, but as a whole it is dull and the finale is even trivial. Zimbalist made the most of it. Tschaikowsky's meditation and scherzo, orchestrated by Glazounoff, an effective piece, was played with great perfection. Zimbalist was enthusiastically acclaimed."
5"Godowsky scored a triumphant success at Bechstein Hall Saturday afternoon, when he gave his only recital of the season. He will play the Tschaikowsky concerto with orchestra at Albert Hall this afternoon. Godowsky's wonderful art never was displayed in a more brilliant light than at this recital. In some of his selections he quite surpassed himself. His program comprised Beethoven's 'Appassionata' sonata, a group of his own arrangements of old French and Italian pieces, Chopin's F minor fantasia and A flat ballade, the concert giver's arrangement of two Chopin etudes for the left hand alone and of Henselt's bird study, a berceuse by Liadov and Liszt's 'Venezia e Napoli.' It would be difficult to single out special numbers for particular praise, as it was all so astonishing. Perhaps the Chopin fantasia, the two left hand studies, the Henselt arrangement and the tarantelle stood out most prominently, but this enumerating nearly the whole program. The Chopin E minor study was stormily demanded, as were indeed several other numbers, and Godowsky's playing of this baffled description. Who could conceive that one hand could successfully cope with such formidable difficulties. It is beyond belief! Dr. Fachmann sat in the second row, just in front of the performer, and it was most interesting to observe him. His admiration for Godowsky is boundless, and with his impulsive, enthusiastic, uncontrolled expressions of approval, among those cold, unemotional, unresponsive English people, he seemed like some gorgeous, exotic, tropical flower placed on an iceberg in the Arctic sea. He kept up a running fire of comment during the playing, but he tried in vain to infect his neighbors with his enthusiasm. This lack of feeling, however, on the part of English audiences seems to be on the surface only, for at the close of each number they applauded Godowsky to the echo. The audiences here, in general, are very appreciative, although they show it only at certain, and no doubt to their way of looking at it, proper times. Such a glowing nature as De Pachmann's cannot contain itself. Else how could he play Chopin as he does? Godowsky's performance of the 'Appassionata' was a memorable one and the Liszt tarantelle was a marvel of perfection."
7Since her return from America, Blanche Marchesi has been singing at a number of important private concerts, both in and out of London. Last Friday evening she sang at Aldershot at the concert given by Lady Smith Dorrien, who was at that time entertaining as guests their Royal Highnesses the Price and Princess of Wales. Madame Marchesi sang an aria from "Trovatore," and the "Grenadiers" of Schumann, and received an ovation after her numbers. After the concert was over she was specially congratulated personally by the Prince and Princess, who in the most amiable way expressed their delight.
9Kreisler has promised to play at a soirée musicale given in aid of a local charity for the relief of Austrian and Hungarian subjects in London, early in June. The musical arrangements are under the direction of Richard Epstein.
11Owing to the great success of her recent appearance in London, Yolanda Meró has decided to give a third recital at Steinway Hall next week. Each appearance that this young pianist makes in London serves to emphasize her splendid qualities as a pianist. Her programs are well chosen, she plays with great distinction, her technic is fine, she has much temperament, and her interpretations are always highly interesting. To all her qualifications as a musician, she adds a charm of personality that goes far to place her in sympathy with her audiences immediately she appears on the stage. That she has a brilliant future before her has been said often; that she is one of the specially gifted pianists at the present moment has been said equally often, and it only remains for her to be heard in America, for all the critics, as well as the public, to agree with the European verdict.
13Godowsky played at Albert Hall on Sunday afternoon, his numbers being César Franck's "Variations Symphoniques" and Tschaikowsky's piano concerto in B flat minor. The London Symphony Orchestra was conducted by Dr. Cowen on this occasion.
15Bechstein Hall was again crowded, when Elena Gerhardt gave her recital there last week, as usual, there being a greater demand for tickets than could be supplied. Her program included four songs by Franz, three by Schubert, a whole group devoted to six Brahms songs, three by Richard Strauss, and to end the program, three by Hugo Wolf. Of these, the last one, sung after such an exacting program, was one of the chief attractions of this interesting list of German songs. Miss Gerhardt's voice and style of singing have been so praised and talked about that there is little left to say of her, excepting that she was in splendid voice last week, the beautiful evenness of her singing and the serious interpretation of all the songs being just as marked as on former occasions when she has appeared in London. The applause was so spontaneous that at times it was with difficulty controlled until
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