Scan 6
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
101 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1rections as to how the symphonies should be performed. In the symphony of the chase, for example, a note in the score says that to the tones of the orchestra should be added a number of barking dogs, and in his "Post" symphony he requires a real post-horn and also the snapping of a whip. In a piece called "Bauereihochzeit," the climax is emphasized with a pistol shot. I once heard this performed and the effect was very ludicrous. Undoubtedly, Leopold Mozart's most valuable compositions were his chamber music works; among these several divertimenti for two violins and contra-bass are noteworthy. Also his school of violin playing, written about the middle of the eighteenth century, is a very interesting book, containing some very original thoughts.
3Alma Stenzel has just returned to Berlin from a tour of twenty concerts made with Joan Manen, the Spanish violinist. The tour, which lasted five weeks, took the two artists through most of the leading cities of Germany and was a most successful one. Miss Stenzel appeared on each program as soloist and her work was warmly commented on by the press and she also proved to be a great favorite with the public.
5Nicoline Zedeler, the young Swedish-American violinist, has been touring for a couple of weeks in Denmark, playing with great success in Slagelse, Maribo, Makskow and Nykoping. Excellent press notices and re-engagements for next season in all these places prove the degree of popularity attained by the artist. At Slagelse she was also heard at a private musicale by a number of influential people and musical agents, who promised her engagements in the neighborhood about Slagelse on her return there. Next season Miss Zedeler will also appear in Copenhagen in a concert of her own. In a recent concert in Mozart Hall in this city, given by the Orchestra of the Technical High School, this young disciple of Theodore Spiering acted as concertmaster for this band of sixty musicians, she being the only woman among them.
7ARTHUR M. ABELL
9Alberto Jonás' Success.
11The following press notices on the playing of Alberto Jonás, the famous Spanish pianist, appeared in the leading Berlin dailies after his appearance at the second Elite concert there, in December:
13Prof. Alberto Jonás aroused the whole audience to great enthusiasm with selections by Chopin and Rubinstein.—Berliner Börsen Courier, Berlin, December 9, 1909.
15Alberto Jonás asserted himself as a pianist of strength and knowledge, specially in the ballade, A flat, of Chopin.—Vossische Zeitung, Berlin, December 9, 1909.
17The Spanish pianist, Prof. Alberto Jonás, once more showed that he is a master of piano playing.—Norddeutsche Allgemeine Zeitung, December 10, 1909.
19Alberto Jonás appeared at this concert, a pianist who, through his incredible technic, plunged the whole audience into astonishment and delight.—Vossische Zeitung, Berlin, December 8, 1909.
21The eminent, fine, piano playing of Alberto Jonás stands in point of musical feeling on a height with his masterful technic.—Berliner Volkszeitung, Berlin, December 5, 1909.
23The pianist, Alberto Jonás, proved himself again to be a virtuoso of the very first rank. With astounding surety and clearness does he master the greatest difficulties, all rapid passage work in octaves, etc.—Norddeutsche Allgemeine Zeitung, December 7, 1909.
25The pianist, Alberto Jonás, played with his well-known mastery pieces by Chopin, Liszt, Moszkowski, etc.—Neue Preussische Kreis Zeitung, December 12, 1909.
27Alexander Lambert Recovered.
29Alexander Lambert, who was injured some weeks ago, in a street accident, as reported in THE MUSICAL COURIER at the time, has recovered almost entirely from the effects of his broken rib and dislocated shoulder, and beyond a slight stiffness in his right arm, feels no ill effects from his trying experience.
31President Taft proved at the Depew reception that he is a dancing man, but Roosevelt pipes the tune.—Exchange.
33Zimbalist's Great Success at the Leipsic Gewandhaus.
35First Violinist Engaged for the New Year's Concert Since the Death of Joachim, Who for Forty Years Was Regularly the Soloist on That Day.
37Appended are the criticisms of the Leipsic papers on the playing of the youthful Russian violin genius on this occasion:
39Gewandhaus Concert.—After Weber's "Euryanthe" overture followed Tchaikowsky's violin concerto, which was rendered by Zimbalist, a young but already famous violinist. His playing combines in a wonderful manner masterly bowing, perfect technic, a sweet, mellow, yet manly, tone, youthful temperament and mature repose. He took the first movement in an unusual, broad tempo, but it was delightful to listen to these melodies given with such exquisite lyric quality. In the brilliant and exacting passages he was equally impressive, while in the finale he held us spellbound by his spirited individual conception and elegant virtuosity. The whole interpretation was that of a great artist. The audience expressed their high appreciation by stormy applause, to which Zimbalist responded by an encore—the fugue from Bach's G minor sonata. This, as a masterpiece of execution, ranked ever higher; it was absolutely clear, beautiful and correct in style.—Leipziger Zeitung, January 3, 1910.
41On New Year's Day the audience at the Gewandhaus Concert made the acquaintance of Zimbalist, a new violinist, who, by his marvelous playing, will soon eclipse some well-known, celebrated names, although they may never be forgotten. All present were still under the influence of the exquisitely rendered "Euryanthe" overture, by Weber, when a slim young man stepped onto the platform. There was no welcome extended to him, not a hand was raised to greet his entrance; every one remained passive and in an expectant attitude. Amid this dead silence the artist began to play Tchaikowsky's concerto, but soon indeed a tumultuous applause broke forth on all sides, and increased in volume after every movement. Zimbalist interpreted this beautiful composition as only a great musician can do, with perfect repose and surety, technically without a blemish, every passage, every note revealing sound musicianship. To him applies Schumann's saying that "virtuosity is excellent if it remains the medium for exhibiting true art." Zimbalist's eminent talent has its source in a genuine musical nature. He not only plays on his instrument, but he speaks to us through it. By his complete abandonment to the spirit of the composition, he induces his hearers to forget the many existing executive difficulties. His tone, particularly in the slow passages, is of an ideal beauty, enhanced by subtle and varied nuances. Immense enthusiasm prevailed at the close. To satisfy the audience the young artist had to give an encore, for which he selected a fugue by Bach (G minor sonata). He showed a deep understanding of the severe form of this composition and did ample justice to its exacting style.
43We are promised in the near future a violin recital by this exceptionally gifted artist, and are looking forward with pleasure to his varied exhibition of his great individual qualities.—Leipziger Tageblatt, January 3, 1910.
45Gewandhaus Concert.—Zimbalist aroused genuine admiration among his audience. This young artist, pupil of Leopold Auer, has at his command all the distinctive qualities of a first-class violinist. He produces a sonorous, beautiful tone and he plays with fine artistic conception and expression. His spirited performance of Tchaikowsky's violin concerto evoked a tremendous ovation, to which this brilliant successor of the greatest of violinists replied by an encore.—Leipziger Abendzeitung, January 3, 1910.
47Madden Song Recital.
49Last Wednesday evening, at Mendelssohn Hall, George S. Madden, a New York baritone, and a member of Holy Trinity Church Choir, gave a song recital with the following program:
51SONGS BY OLD MASTERS.
52Recit, The Good We Wish For (air, Thy Glorious Deeds)…Handel
53Adelaide ………………………………………………………..Beethoven
54Frühlingsnacht ……………………………………………..Schumann
55Geheimes …………………………………………………….Schubert
56Marie ………………………………………………………..Franz
57I Am a Roamer Bold ………………………………………Mendelssohn
58Piano solo, Scherzo, in C sharp …………………………..Chopin
60SONGS BY MODERN EUROPEAN COMPOSERS.
61The Bells …………………………………………………….Debussy
62The Cradle ………………………………………………….Faure one of two readings
63The Cradle …………………………………………………..Faure one of two readings
64Dereinst, Gedanke Mein ………………………………….Grieg
65Schel Menlechen …………………………………………..Reger
66Allerseelen ………………………………………………….Strauss one of two readings
67Allerseelen …………………………………………………..Strauss one of two readings
68Is She Not Passing Fair ………………………………….Elgar
69Piano solo, Paraphrase on Themes from Eugen Onegin, Tschakowsky-Pabst
71SONGS BY AMERICAN COMPOSERS.
72When You I Beheld ………………………………………Oehmler
73Dawn ………………………………………………………..DeKoven
74The West Wind Croons in the Cedar Tree ………….MacDowell
75Through the Meadow …………………………………….MacDowell
76If Dreams Came True …………………………………….Breil
77Vagabond …………………………………………………..Breil one of two readings
78Vagabond ……………………………………………………Breil one of two readings
79Since I Love ……………………………………………….Cadman one of two readings
80Since I Love ………………………………………………….Cadman one of two readings
81Cupid Armed ……………………………………………..Foerster
83Mr. Madden disclosed an excellent style, perfect enunciation, good stage presence, and a voice of pleasing quality with abundance of tonal resonance. He gave evidence of having been a student, not only of voice culture, but of musical art, and gave an intelligent interpretation of the songs selected. His best work was done in the German lieder and in the compositions by Americans, especially those by DeKoven, Oehmler, Breil, Foerster, and Cadman, chosen from Jerome H. Remick's Library Edition of Art Songs.
85Mr. Madden was fortunate in having so able an assistant as Otto L. Fischer, whose piano solos afforded much pleasure, and revealed the ripe artist, rounded musician, and competent accompanist.
87Caroline Hudson Engaged by Plymouth Church.
89Caroline Hudson has refused a reappointment as soprano soloist at St. Bartholomew's Church. Her work had been so thoroughly satisfactory that there seemed hardly a doubt but that she would remain, but her manager, Walter R. Anderson, arranged for the committee of the Plymouth Church, Brooklyn, to hear her sing and a proposition was made to secure her services at such a substantial increase in salary that Miss Hudson decided to accept it.
91HOWARD WELLS
92PIANIST AND TEACHER
93Authorized Representative of LESCHETIZKY
94Zantener St., 8. Berlin W., Germany
96Agnes Stavenhagen
97Formerly Leading Prima Donna, Weimar Court Opera
98Garcia-Marchesi School
99Vocal Instruction
100Guentzel St. 3 : : : : Berlin W.
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