Books › Musical Courier 1910-02-16: Vol 60 Iss 7, 1910 › scan 40
Scan 40
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
73 lines. Read by computer on 26 September 2026. Printed page 41. See the scan on archive.org.
1SPIERING PLAYS TO MUSICIANS.
3Theodore Spiering's standing as a musician and violinist is such that the announcement of a recital by him was the occasion for the assembling of a company of violinists, musicians, scholars and pedagogues at Mendelssohn Hall last Thursday afternoon. Mr. Spiering is no stranger among us, having been heard as soloist with the New York Philharmonic Orchestra, of which he is the concertmaster, and at an Arion concert. The program offered, though not inclined to attract those who regard the violin merely as a medium for the dispensation of sweet nothings, consisted of the following numbers:
5Devil's Trill Sonata………………………………………Tartini
6Concerto No. 8, Gesangscene……………………………Spohr
7Five Artist's Studies from Op. 4………………………….Theodore Spiering
8(Concert pieces for violin alone. First time in America.)
9Romance (First time in America)………………………..Christiaan Kriens
10Serenade (First time in America)………………………..Eduard Behm
11Perpetuum Mobile………………………………………….Novacek
12Fantasia Appassionata……………………………………Vieuxtemps
14The "Devil's Trill" and the "Fantasia Appassionata" were delivered in a scholarly manner, but the concerto is not the kind of work in which Mr. Spiering shines best. His technic is so big, his conception so broad, his method so academic, that delicacy and repose evidently do not appeal to him, for he played it in almost bravura fashion. The most astonishing thing of the recital was his performance of his own studies, abounding in hideous difficulties, in which the composer simply revelled. The mere memorizing of these intricate labyrinths of notes is a feat in itself, and the reckless ease and whirlwind tempo with which he played them brought forth an expression of astonishment from the entire audience. It was a notable achievement in violin playing. Each of these studies, well labeled "artist studies," is inscribed to a great violinist, and it is evident that only such can master them. In their playing Mr. Spiering also gave a remarkable exhibition of bowing, employing every sort and kind known to the art. They were a most congenial field for his particular talents and an effective vehicle for the display of his technic. Christiaan Kriens' "Romance" was nicely played with a good, full, resonant tone, and at the conclusion Mr. Spiering graciously signaled for the composer, who bowed his acknowledgments from his seat. In the "Perpetuum Mobile" Mr. Spiering gave himself up to his virtuosoship and elicited a storm of applause. He executed the difficult passages with marvelous dexterity and splendid abandon.
16The accompaniments by Kurt Schindler were as fine as any heard here this year, perfectly attuned to the requirements of the compositions and thoroughly in harmony with the spirit of the soloist.
18Florence Mulford at Rochester.
20Florence Mulford appeared most successfully at a concert given in Convention Hall, Rochester, on February 11. It was recorded that her "magnificent voice and stage appearance assisted materially in the great success of the concert," and one of the papers said:
22Mrs. Mulford, who is the possessor of a beautiful mezzo voice of wide range, sang Massenet's "Il est doux; il est bon," in dramatic style and with fine tonal quality. Two groups of songs followed. These gave opportunity for exhibiting Mrs. Mulford's versatility in many phases of the vocal art, and she excelled in all. Frequent and enthusiastic applause gave testimony to keen enjoyment and appreciation by the audience.
24MRS. THEODORE WORCESTER.
26Mrs. Theodore Worcester at Montgomery.
27The following extracts relate to Mrs. Theodore Worcester's success last November in Montgomery, Ala.:
28She is an artist of remarkable ability. Her wonderful technical skill, combined with tasteful interpretation, places her in the front rank of musicians.—Montgomery Journal, November 16, 1909.
30Few women have attained to the mastership of the piano exhibited by this successful artist.—Social World, Montgomery, Ala., November 21, 1909.
32Her playing is characterized by great strength and vigor, and has an intellectual grasp unusual in a woman. Her tone is large and sympathetic and her technic seems to be unlimited.—Montgomery Advertiser, November 10, 1909.
34Tina Lerner in New York.
36Tina Lerner, the Russian pianist, will play the Grieg concerto with the Volpé Orchestra at its last concert of the season, in Carnegie Hall on March 13. She will play the Chopin "Andante Spianato and Polonaise" at the Young People's Symphony concerts, under Walter Damrosch, in Brooklyn, February 26, and New York, March 5.
38BUSONI AND TETRAZZINI IN MILWAUKEE.
40MILWAUKEE, Wis., February 3, 1910.
42The great musical event of last week was the concert given by Madame Tetrazzini and her company in the Auditorium. Milwaukee gave Tetrazzini an ovation, recalling her over and over and at one time the entire audience seemed to unite in cries of "Bravo!" That is very unusual for audiences here, for although the Milwaukeeans are fond of saying that they are musical, they nevertheless cannot deny that they are not inclined to be very enthusiastic. As a rule, they are cautious in bestowing approval and when they do they usually make such noise about it. Therefore, Tetrazzini should feel that the reception accorded her was a warm one and that her artistic success was all that she could desire. Orville Harold, the tenor of her company, also created much enthusiasm.
44Clara Bowen Shepard deserves the gratitude of the entire musical community for the splendid music she is providing for us this season. One of the greatest concerts she has presented was the recital given last Monday at the Pabst Theater by Ferruccio Busoni. And again upon this occasion Milwaukee did itself proud and showed that it is actually waking up and giving voice to its appreciation, musically, for the big audience recalled Busoni five times after his first number and that number consisted entirely of Bach. No one but Busoni could produce such an effect. It is safe to say that some of the things he does are absolutely unequalled. No one else can do them. Technically, of course, there is nothing left for him to accomplish, so that having such absolute command of the means, his attention can be entirely on the end in view. He played the Beethoven sonata, op. 111, and the Chopin sonata in B flat minor. In the latter, especially in the second and last movements, he produced beautiful effects, and in the Funeral March he made one forget that it is rather a hackneyed composition, so absolutely original and unique was his conception of it. Pianists may come and go, but the memory of the Busoni concert will be a thing of beauty and a joy forever.
46At the quarterly meeting of the College Endowment Association, the MacDowell Club furnished the following program made up entirely of MacDowell compositions:
48Alma Mater.
49At Parting.
50Summer Wind.
51Miss Rich, Mrs. Lindsay, Miss Koss, Mrs. Lyon.
52Cradle Song for Violin—Arranged by Arthur Hartmann.
53Mrs. Philip F. Rogers.
54Songs for Soprano—
55The Flower Song—
56The Clover.
57The Daisy.
58The Blue Bell.
59The Robin Sings in the Apple Tree.
60The Swan or the Lily.
61A Maid Sings Light.
62Hester Adams.
63Idyll, op. 39.
64The Eagle, op. 32………………………………………Tennyson
65Witches' Dance, op. 17.
66Pearl H. Van Vliet.
67Songs for Contralto—
68The Sea.
69Long Ago.
70Thy Beaming Eyes.
71Mrs. Francis H. Thompson.
72ELLA SMITH.
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