Scan 5
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
26 lines. Read by computer on 25 September 2026. No printed page number was found. See the scan on archive.org.
1with the assistance of George MacManus, who supported her with sympathetic accompaniments. Miss Teschner played Tartini's G minor sonata (not the "Devil's Trill," which is in the same key); the first movement from Viotti's seventeenth concerto in D minor, which had not been heard here for years; Bach's G minor sonata for violin alone; Saint-Saëns' "Havanaise" and the Wieniawski A major polonaise. Miss Teschner, whom I heard on this occasion for the first time, has a fluent, reliable technic and her readings reveal musical intelligence and a refined taste; she manipulates the bow in an energetic manner and draws a large tone from her instrument. Her cantabile playing is very commendable and her passage work was also excellent, as was shown in the Wieniawski polonaise, which requires virtuosity and brilliancy. She is unquestionably a remarkably gifted girl who has worked hard, who takes her art seriously and deserves success. She was heartily applauded by the public and was called upon to give two encores at the close of the program, an unusual tribute to a young artist.
3Alberto Jonas gave a piano recital, his only one of this season, at Beethoven Hall on Wednesday evening, which was attended by a large and cultivated audience. Works by Beethoven, Chopin, Schumann and Liszt made up his program, which was both grateful and at the same time musically interesting. It is curious that Beethoven's "Appassionata" sonata is the choice of nearly every pianist appearing here in recital this season; it has been played fully twenty times this winter, and the distinguished Spanish pianist also had it on his program. He gave of it a soulful and finished reading. But he also played the two bagatelles in A major and C major, which are not so often heard, and the Chopin "Scottish Dance," which I have never heard played by any one else. He played this with remarkable elegance, grace, delicacy and technical finish, and it so pleased the audience that he was obliged to repeat it. His charming performance of the G flat major etude was also encored. In the A flat polonaise he displayed another side of his art, the heroic. It was a big, commanding performance. Admirable, too, was his rendition of the Schumann toccata, which he took at a very lively tempo, carrying it through to a finish without a break and with great ease and nonchalance. Liszt's "Consolation" and his arrangements of "Isolde's Liebestod" and Schubert's "Erl King" brought the program to a close. It was a brilliant performance of the "Erl King" and the applause was so insistent that he was called upon to give no less than four encores at the conclusion of the program. One of these, Moszkowski's etude, was perhaps the best thing he did the entire evening. Alberto Jonas combines finished execution and a beautiful tone with brilliancy and poetry. His personality is sympathetic and he invariably pleases his audiences. It is a mystery how he keeps up his technic and repertory and concert work, since he does an enormous amount of teaching.
5On the Empero's birthday, January 27, a gala performance of "Rienzi" was given at the Royal Opera, which, as I am informed, was attended by a very brilliant and distinguished audience in which the Court society figured very prominently. The overture to "Rienzi" was preceded by Wagner's "Kaisermarsch" and then the curtain rose on the second act of "Rienzi"; the entire opera would have been too long for such an occasion. "Rienzi" has been newly staged and the scenery is said to be very beautiful. The title role was sung by Berger, who has never been heard to greater advantage since he became a tenor; his voice sounded free and sympathetic and he sang with a great deal of warmth. His acting was also impressive. The other members of the cast were Putnam Griswold as Colonna, Frances Rose as Irene, Madame Goetz as Adriano and Bischoff as Orsini. Bischoff is to sing the title role of Nevin's opera "Poia," which will be brought out here in February.
7The fourteenth symphony concert of the Blüthner Orchestra was conducted by Richard Hagel, of Leipsic, who revealed himself as an orchestra leader of taste, good judgment and routine. He conducts in a very quiet, unostentatious manner; he is somewhat lacking in temperament and expressions of his readings are not very vivid for this reason, but it was good solid work. The program contained the third "Leonore" overture, Ertel's symphonic poem, "Hero and Leander" and the Brahms C minor symphony.
9Arthur van Eweyk's second song recital at the Singsakademie was attended by a large audience. The well known baritone was in excellent form and the warmth of his voluminous, manly voice and the nobility of his style—a style of singing essentially refined—made a very sympathetic impression. A good part of his program was given up to modern compositions, including songs by the well known Berlin accompanist, Edward Behm, and two very curious compositions by Arnold Schoenberg, who, if I mistake not, is a Viennese. Whatever may be one's view of these strange songs, they are hardly fitted for concert use and even an artist of Van Eweyk's standing and reputation will scarcely be able to make them go. The singer won very hearty applause.
11Schumann's "Paradise and the Peri," a work now rarely heard, was given by the Musikalische Vereinigung, of Berlin-Wilmersdorf, under the direction of Max Wiedemann, with the assistance of the Blüthner Orchestra and an acceptable chorus and soloists. The performance was not one of any special merit, but it was a praiseworthy effort on the part of the society to produce Schumann's well-nigh forgotten composition.
13There is a society here whose purpose is to further Hebrew music, and it gave a concert with this intent at Bluthner Hall under the leadership of Albert Kellermann. Several numbers by the conductor and settings of the Psalms, mostly for chorus and soprano and tenor solo voices, by other little known Jewish composers were heard, as I am informed. The soprano was Herma Dalossy and the tenor was Wilhelm Klein, both excellent. Betty Tennenbaum, who played two pieces by Kellermann for violin and organ, made an excellent impression; this youthful Russian violinist has a large fund of temperament, a reliable technic and a warm, penetrating tone.
15A new sonata for cello and violin, by Philipp Scharwenka, was given its first public performance at Scharwenka Hall by Jacques van Lier and Erna Klein. Like all of the works that come from Scharwenka's pen, it is distinguished by the novelty of its melodic invention, by interesting euphonious harmonies and by its masterly form. The novelty was very well received. The concert giver, Erna Klein, also played a number of solos, displaying an excellent technic, a round, full tone and superior musical judgment.
17Godowsky, at his second recital on Tuesday evening, played a program not at all to the liking of the general musical public. Notwithstanding that fact, however, he was greeted by a sold-out house; this phenomenal pianist has attained such drawing power that it does not seem to matter much what he plays. His two principal numbers were the Liszt B minor and the Brahms F minor sonatas, neither of which interests the average concertgoer. The layman finds the Liszt sonata particularly tedious. However, a Godowsky can make anything interesting, and his performance of it was tremendous. Like many another, I had declared that I would never sit through it again, but Godowsky's reading fascinated me. And yet how much greater and more spontaneous was the applause that followed his exquisite rendition of the little G flat waltz by Chopin than was that which rewarded his performance of the Liszt work; the public insisted on a repetition of the waltz, but Godowsky ignored the request. After all, the public goes to concerts to be entertained and it was clear that the greater part of the listeners endured the Liszt sonata, while they keenly enjoyed Schumann and Chopin. Godowsky's reading of the "Kinderszenen," op. 15, was beautiful and poetic. He played these bits with a charming simplicity and naivety of conception that were thoroughly in keeping with their character. His lovely, luscious, round, singing tone is always a joy to the ear. His other Chopin numbers were the barcarolle, the F sharp minor mazurka and the polonaise in the same key. His success was immense, as it always is. The great pianist is to appear at the next Elite concert, when he will be associated with Willy Burnester and Julia Culp—three names that should fill the hall to its utmost capacity. He will also give a Chopin recital on March 18 in the large hall of the Philharmonie, when he will play both sonatas and a number of the great Pole's most popular works.
19The Berlin Comic Opera is preparing two novelties, to wit: Lehár's "Zigeunerliebe" and Kuennecke's "Robin's Ende," for which Maximilian Moris, the chief regisseur of the Comic Opera, has written the text.
21Hugo Kaun's new symphony had a triumphant success at its first performance at a recent Gewandhaus Concert under Nikisch at Leipsic. As a consequence, the work has been accepted for performance at one of the Nikisch Philharmonic concerts early next season. The Leipsic daily papers speak of the symphony in glowing terms. The composer himself considers the slow movement the best thing he has yet done for orchestra.
23Professor Rudorff, who for many years has been the head piano teacher of the Royal High School for Music, celebrated his seventieth birthday last week. A big festival concert was given in honor of the occasion in the hall of the Royal High School and many attentions were showered upon him. As a personality, Rudorff does not figure very prominently in the musical life of the metropolis. He is a modest man and as he does not play in public, his name is rarely mentioned. It is not generally known that he numbers among his pupils no less an artist than Leopold Godowsky, although that great pianist studied with him only a short time; he also studied with Saint-Saëns, but he is chiefly self-taught. Bernard Stavenhagen is also one of Rudorff's pupils.
25The Kaiser's birthday, January 27, was also Mozart's birthday, and this reminds me that an edition of compositions by Mozart's father, Leopold Mozart (1719-89), has just been given out by Dr. Max Seifert, of Berlin. This collection of works by the old Salzburg composer are for the first time made public. If Leopold Mozart had not been so overshadowed by his immortal son, Wolfgang, greater importance would have been attached to his own works. Father Mozart wrote among other things a number of symphonies that are full of interest; for instance, his "Sinfonia Burlesca," his military and his "Jagd" symphonies are fresh, bright and melodious and they reveal not a little originality. Very amusing are his written di
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