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Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
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1GISELA WEBER'S TRIUMPHS IN MANY CITIES.
3Gisela Weber, the accomplished violinist, has enjoyed a series of triumphs since her recent concert in New York. The artist has played in New Haven, Conn.; Washington, D. C.; Philadelphia, Wilkesbarre and Williamsport, Pa., and Utica, N. Y. In all of these places the musicians and musical critics were most laudatory in expressing their opinions about Madame Weber's art. Some extracts from long reviews of the concerts where she played follow:
5THE WEBER RECITAL.
7AN EVENT OF ARTISTIC WORTH—MADAME WEBER AN ACCOMPLISHED VIOLINIST.
9The recital by Gisela Weber attracted an audience of music lovers to Harmonie Hall Friday evening. Those who braved the inclement weather enjoyed a concert of real artistic worth. It was a program of classics: Bach, Handel, Corelli, Mozart and Brahms offer little for popular approval, and the fact that Madame Weber held the attention of her audience to the end attests her attractive personality and musically attainments. She is an accomplished violinist, well versed in the technic of her art and conspicuous in her playing is a round, full, sonorous tone, freedom and ease in bowing, refinement of taste and musical feeling. Handel has a characteristic musical style, but his chamber music sounds old fashioned to modern ears. Madame Weber played this D major sonata in a style that was reposeful and finished in detail, and the "Larghetto" especially was invested with warmth and tender feeling.
11The Corelli variations gave Madame Weber an opportunity to display her command of double stopping, and the difficult cadenza was played with fluent ease.—New Haven Courier-Journal, January 17, 1910.
13MADAME WEBER'S RECITAL.
15YOUNG VIOLINIST MAKES HER LOCAL DEBUT AT WITHERSPOON HALL.
17Gisela Weber made her Philadelphia debut as a violinist last night at Witherspoon Hall in a concert of exceptional merit, both as regards program and execution. Beginning with Handel's D major sonata for violin and piano, and including among other numbers a set of Corelli variations, Madame Weber closed with Mendelssohn's trio in D major for violin, cello and piano, being assisted by Madame Holmes Thomas and Leo Schultz, the first cellist of the New York Philharmonic Society. As may be imagined, the dominant note of the evening was not in any sense diversion, but rather the serious and able presentation of legitimate and lofty art. Madame Weber is most fortunate in possessing an instrument of surpassing beauty of tone. It is a Stradivarius, and is one of a collection of four made for the Spanish Court in 1712. It is gratifying to be able to say that Madame Weber's playing is altogether worthy of so noble a product of one of the world's greatest violin makers. Her performance was characterized by true artistic and technical ability. Her breadth and sonority of tone, the clearness and precision of her execution, and her masterly interpretation, profound in spirit and utterly devoid of sensationalism, command unbounded admiration. There was no striving for effect and for that reason the merits of her playing were all the more convincing. The accompanying of Madame Holmes Thomas was skilful, unobtrusive and in excellent taste. Mr. Schultz was heard, as he always is in Philadelphia, with great pleasure. Concerts of a more sterling character than last night's are seldom heard.—Philadelphia Telegraph, January 20, 1910.
19Madame Weber gave an exhibition of a mastery of her instrument such as has rarely been heard in this city. The quality of tone in her playing is responsible for the wonderful effect upon an audience. She executes the most difficult passages with remarkable ease.
21The program was varied. Her playing of the sonata in D major by Handel gave her her greatest opportunity. Her sustained tones in the adagio movement were given with their full singing quality. Her technical facility was well brought out in the allegro movement. But most interesting of all was her skill at bowing in the beautiful larghetto movement.
23Of the small numbers the Bach air called out the most applause. The dainty, quaint minuet of Mozart was charmingly played, as was also the D major trio of Mendelssohn, played by Madame Weber, Mr. Schultz and Madame Holmes-Thomas.—Philadelphia Press.
25A very interesting program of violin selections was performed last evening at Witherspoon Hall by Gisela Weber, a talented American artist, before an audience composed largely of the musical following of this city, and, judging by the enthusiasm aroused, she fully satisfied the expectations of these critical and discriminating music lovers.
27The recital was to have been given in December last, but was postponed on account of the illness of Madame Holmes-Thomas, whose sympathetic understanding of Madame Weber's manner made her assistance almost indispensable. The lady was present last evening and gave excellent support on the piano.
29Handel's violin sonata in D major opened the program. The adagio was given rapt attention and applauded, the allegro following aroused the hearers who began to appreciate the artist's ability.
31The larghetto, full of beautiful melody, was very finely performed, but the audience was given no opportunity to demonstrate its approval, as the allegro followed immediately on the final sighing bar. The sonata finished, the artists retired amid applause well deserved.
33"La Folia," variations seriose, by Corelli, came next. It is in form a rondo. A lengthy passage of slow melody in a minor key is followed by a lively episode. After the third return of the mournful passage, a long and beautiful coda ends the movement.
35This number aroused the audience, and a large bouquet of American beauty roses was presented to the violinist.
37A romanza, by Svendsen, a selection from Bach (a fine melody), and one of Mozart's minuets were given, and delighted the audience, especially the latter; and then came the finest number on the program, with which the recital closed, Mendelssohn's D major trio. Madame Weber had the assistance of Leo Schultz, a talented cellist, as well as two pianists in this number.—Philadelphia Item.
39VIOLIN ENCHANTMENT.
41GISELA WEBER HELD HER AUDIENCE AT SEMINARY SPELLBOUND.
43It is a pity that every lover of the highest and best in music could not have been at Dickinson Seminary last night to revel with the fortunate ones who were there in the Ysayeian tone of Gisela Weber, the violinist, who held the audience spellbound through a severely classical program. We have heard all the great masters of the violin, but we have never heard such breadth of tone, dignity of conception and freedom from the tricks of the charlatan as we heard from this artist with the possible exceptions of Ysaye, the majestic, or Henri Marteau, the grand. When Miss Weber sent her program those who had the recital in charge were much afraid that it was too severe for the average audience and it was suggested that lighter numbers be substituted for the Handel and Brahms sonatas at least, but Miss Weber was confident that she could win her audience with the heavy mediums. To hold an average audience in a death silence through all the movements of the Brahms sonata in A major seems beyond belief, but that is just what Gisela Weber did last evening and left her enchanted hearers loudly and vigorously demanding more.
45The "La Folia" variation seriose, by Corelli, the father of violin virtuosity, is a most interesting number and was masterly rendered. Miss Weber's playing of the (Bach) air on the G string abounded in deep, sympathetic, delicious tone of huge proportions or breathing like a summer zephyr, with a consistent use of the vibrato and the glissando. She is a great artist and we must hear her again soon.—Williamsport, Pa., Bulletin, January 26, 1910.
47WONDERFUL PLAYING BY GISELA WEBER, VIOLINIST.
49AUDIENCE AT DICKINSON SEMINARY LAST EVENING ENJOYED A RARE MUSICAL TREAT.
51By William George Butler.
53We were all very much surprised last evening when we heard the wonderful playing of Gisela Weber, the violinist, at Dickinson Seminary, and we were led to fully understand how the conservative Louis C. Elson could be so enthusiastic in his praise in the Boston Daily Advertiser of January 11.
55Madame Weber's tone is of delicious and entrancing sweetness, majestic and massive in proportions, Ysayeian in masculine dignity and powerful beyond description in general effect. The Handel sonata in D major and the Brahms sonata in A major are two massive numbers beyond the appreciation of the average audience, yet Mrs. Weber gave them so attractively that her hearers sat spellbound throughout both selections and persistently demanded more at the end. Brahms is the musician's composer as Browning is the poet's poet, and a musician with whitened hair told me the other day that all his years of study had not given him the power to appreciate Brahms. In spite of his opaqueness, Mrs. Weber brought to us a Brahms that was bewitchingly attractive to all of her hearers. The familiar Bach air was most soulfully played and we almost believe that Mrs. Weber could hold and interest an audience with a monotone so varied and enchanting is the quality of her tone.
57Corelli's variations seriose gave us one of the best examples of the work of the "Father of Violin Virtuosity."—Williamsport News.
59With a program predominated by the more serious numbers and it might be said, ultra-classical in character, Gisela Weber, the violinist, won the warm approval of a friendly audience at the Columbia Theater yesterday afternoon. After the rendition of the numbers on the program she was obliged to respond to insistent demands for an encore, and gave an exquisite interpretation of the "Jocelyn" berceuse of Godard.
61Madame Weber is a gifted violinist. Her tone is clear and resonant, her phrasing intelligent and her execution highly artistic and delightful. The regular program opened with Handel's sonata in D major and closed with Brahms' sonata in A major. The intervening numbers were Corelli's "La Folia," variations seriose, played with admirable technic; Svendsen's "Romanza," and air of Bach, which was one of the most delightful numbers, and Mozart's dainty minuet.—Washington Star, January 29, 1910.
63Madame Weber's ambitious program was given meritoriously, her audience finding its greatest satisfaction in Svendsen's tuneful and fanciful "Romanza," Mozart's well-known minuet, with its haunting melody and measure, and Brahms' sonata in A major. As an encore to the last selection, Madame Weber played Jocelyn's berceuse with much sweetness.—Washington Times.
65An appreciative audience greeted Gisela Weber yesterday afternoon at her violin recital at the Columbia Theater. She gave with much finish and feeling two sonatas, Handel's in D major and Brahms' in A major.
67The melody of Svendsen's "Romanza" was well brought out. An air by Bach and Mozart's minuet also were played. Madame Weber's skill was best shown in the vibrant melody of Corelli's "La Folia" variations seriose, where the violin sustains alone a difficult passage, carrying the air and harmony.
69She was recalled four times, and finally responded with Jocelyn's berceuse.—Washington Post.
71The audience showed its approval of the artist's beautiful work by warm enthusiasm. She plays with exquisite finish and skill, and is gifted in her temperament. Her tone is most beautiful and pure, and her phrasing shows her great intelligence. She played for encore at the end of the program, being recalled many times, the beautiful berceuse from Godard's "Jocelyn" with the greatest tenderness and exquisite finish.
73The playing of Madame Holmes-Thomas was a genuine treat. She is an artist, and Madame Weber generously brought her back with her to acknowledge each recall of the audience. Aline Fredin also played some of Madame Weber's accompaniments most successfully. The program follows:
75Sonata, D major …………………………………………..Handel
76La Folia, variations seriose ………………………………….Corelli
77Romanza …………………………………………………….Svendsen
78Air ………………………………………………………..Bach
79Minuet …………………………………………………….Mozart
80Sonata, A major …………………………………………..Brahms
82Washington Herald.
84MADAME WEBER'S RECITAL.
86LARGE AUDIENCE WAS CHARMED WITH THE WORK OF NOTED VIOLINIST—A PROGRAM OF UNUSUAL EXCELLENCE.
88Gisela Weber, a woman violinist of rare ability, gave a recital at the New Century Auditorium last evening, and she was greeted by a large audience which listened with the utmost appreciation to every number, making known its approval by prolonged applause. Madame Weber is a finished musician not only, but she is a beautiful woman, and her stage presence is exceptionally pleasing. Her technic is without a flaw, but in its her conception of the composer's thought is never for a moment obscure, and she gave to each number just the interpretation for which it called, drawing from the rare old Stradivarius tones of wonderful sweetness as well as those of great depth and power. The program was as follows:
90Sonata, D major …………………………………………..Handel
91La Folia, variations seriose ………………………………….Corelli
92Romanza …………………………………………………….Svendsen
93Air ………………………………………………………..Bach
94Minuet …………………………………………………….Mozart
95Sonata, A major …………………………………………..Brahms
97Accompanist, Aline Fredin.
99The first movement was beautifully rendered, and in the adagio and larghetto movements the pure singing tones of the instrument were heard at splendid advantage. The variations seriose, "La Folia," was warmly received. The next group was varied, the "Romanza" being an exquisite number, as was also the composition by Bach. The Mozart minuet was a dainty little selection, charmingly played. At its conclusion the applause was so prolonged that Mrs. Weber gave another selection, berceuse, "Jocelyn," by Godard.—Utica Daily Press, February 1, 1910.
101The violin numbers by Gisela Weber, a concert player of large gifts, were unusual luxuries, for importations are infrequent in the series. Madame Weber had a marvelous instrument—a Strad—the tone which the player evolved was instinct with searching power and with life and vitality. Her bowing is velvet, without seam or break, and she plays with a masculine authority and with a virile grasp of phrase and sequence. The left hand work is crisp and clear, excepting that one of the strings was inclined to sulk on account of the weather. She chose her numbers from accepted violin literature and played with reassuring poise and a sense of domination. The Bach, though perhaps slightly different from certain renditions as to tempo, was still beautifully molded and consistent, and like all her other numbers, it left a splendid impression.—Wilkes-Barre Times-Leader, January 31, 1910.
103LATER CHICAGO NEWS.
105CHICAGO, Sunday, February 13, 1910.
107This afternoon, at the Auditorium Theater, before a large audience, Pepito Arriola, the wonderful boy pianist, was heard in a concert, playing the Liszt concerto in E flat major. Though the orchestral accompaniment was poor, the phenomenal ability of this marvelous child was such that, in several instances, he helped the orchestra to get together; once sustaining a note and another time prolonging a trill until the leader got his men together. This circumstance alone shows Arriola's versatility and familiarity with the score. The critics are unanimous in praising the unusual pianistic feats and mature development of this prodigy, and today's performance accentuates the praise already bestowed. His success was overwhelming, three encores being given in response to tumultuous applause, and the audience ceased only when Pepito appeared with his coat and cap on ready for the train.
109At Music Hall, Otto Meyer, the young American violinist, attracted a large and musical audience to listen to a well arranged program, Mr. Meyer is the son of Dr. J. H. William Meyer, of La Porte, Ind., who was present at the recital and must feel gratified at the success of his children—Marie Meyer, the pianist of the day, being his daughter. Mr. Meyer began with the Vieuxtemps concerto No. 4, in D minor, followed by Bach's chaconne and a number of other selections. His playing is marked by refinement and dignity; he draws a flute-like tone of exceptional sweetness and clarity. Mr. Meyer has also a poetic side, particularly noticeable in the Schubert-Wilhelmj "Ave Maria." The Bassini "Ronde des Lutins" was dashingly performed. The Paganini "Witches' Dance" was played remarkably well. Mr. Meyer's recital this afternoon will long be remembered, and it is to be hoped that the management will give us another opportunity to hear this artist before his departure for Europe. Marie Meyer, in addition to playing uncommonly good accompaniments, showed herself a pianist of great attainments. She has a sympathetic touch, musical intelligence and she shared with her brother in the success of the afternoon.
111RENE DEVRIES.
113Carl Pupil Engaged for Langendorff Tour.
115Wesley Ray Burroughs, pupil of William C. Carl, has been engaged as accompanist for the tour of Madame Langendorff, formerly of the Metropolitan Opera Company. The present dates are: Meadville, Pa., February 10; Erie, Pa., February 11; Warren, Ohio, February 24; Franklin, Pa., February, 25.
117T. Scott Buhrman, F. A. G. O., and a Carl pupil, gave his second organ recital of the present season, Monday evening, in the Adams Memorial Church, New York City, of which he is organist and choirmaster. The program contains two movements from an organ sonata, in E flat, by Mr. Buhrman. Mrs. Prue Robinson Baird, who has just signed with the Second Reformed Church, Jersey City, for next year, will play a recital under the auspices of the American Guild of Organists, next week, Friday evening, February 25, in the Metropolitan Temple, New York. Carl pupils are in constant demand for church positions, and a large number have already been placed for the coming season.
119"Parsifal," the "Ring" and "Meistersinger" will be next summer's repertory at Bayreuth.
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