Scan 8
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
73 lines. Read by computer on 26 September 2026. No printed page number was found. See the scan on archive.org.
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1last program had the David concertino for trombone (Franke); Grieg, sonata for piano and cello (Frl. Burstein, Herr Bottermund); "Lucia" recitative and aria (Frl. Hinz); Beethoven op. 31, D minor, sonata for piano (Frl. Asche); Sitt, A minor violin concerto (Frl. Young; Beethoven, "Appassionata Sonata" (Frl. Germani); Johann Strauss "Frühlingsstimmen" waltz for soprano (Frl. Busch); Chopin's F sharp major barcarolle and Balakireff's "Islamey" piano fantaisie (Frl. Endowitzky). Among several students heard were the Russian Frl. Burstein, a highly gifted pupil of Carl Wendling. The cellist Bottermund was recently mentioned here for splendid playing in the first recital of Ethel Leginska. The other three pianists of the last Conservatory program were pupils of Teichmuller and each ranking among the best of all the many greatly talented students now studying under him. Frl. Asche, born in Paris but grown up in Leipsic, gave a remarkably vivid setting out of the Beethoven D minor sonata. The young Roumanian, Frl. Germani, possibly with more talent, gave the "Appassionata" in extreme vivacity, yet in great mood and perfect poise in the funeral march. The Russian Frl. Endowitzky was not heard, but she is said to be the most advanced student now here, with especial technical facility, bordering on the sensational. As has been sometimes remarked, there is much more pleasure hearing these gifted pupils in clear readings and beautiful mechanism than in hearing the so frequently untalented, unequipped and untaught "artists" who give their own public recitals in several of the best concert halls and under the best managers of the city. In view of this and other good work going on at the institution, one believes that at no time since the opening of Leipsic Conservatory in 1843 has there been a relatively higher standard of art practiced than that now in evidence.
3Arthur Reinhold's second piano recital was only of compositions by Liszt. There were the "Chapelle de Guillaume Tell" and "Vallee d'Obermann"; the B minor sonata; the E major "Liebestraum"; the E major Paganini-Liszt etude and "Waldesrauschen"; the "Benediction de Dieu dans la solitude" and the "Spanish fantaisie." In Reinhold's impressive playing a Liszt program is as easy to take as one by any composer. There are always mood, rhythmic motion and unlimited opportunity for trying to suggest orchestral effects. These attributes were all found in the present recital. The artist has a wide repertory of expedients in the manipulation of the pedals and his ear seems continually demanding tonal change. His two Leipsic concerts of this season have thus placed him in class with the few who are playing the works of many composers in a very high ideal for each—Beethoven, Schumann, Mozart and Liszt are those placed in permanent memory thereby. In view of his particular talent, Brahms and Chopin may lie almost as well in his hands, for, after all, Brahms is easier to interpret than Schumann.
5In Else Gipser's second recital she strengthened her former favorable position by the playing of the Schumann fantaisie, pieces by Schubert, Schubert-Liszt, Brahms, five movements from works by W. Rebikoff, and the Grieg ballade. She can play broadly and heavily, yet she produces tone of good quality and she has a gentle fantasy when needed. Only the Schumann could be heard for this report. The Rebikoff compositions left a favorable impression among writers for the daily press.
7The second annual Leipsic recital by Constantin Igumnow, of Moscow Conservatory faculty, had the Beethoven C minor sonata, op. 111, the Schumann fantaisie and the Brahms F minor sonata. The artist kept to fine tonal results rather than to playing of an impressive style; nevertheless, one regretted that the evening was a too busy one to permit hearing more than the Schumann. Last year he played a Rachmaninoff sonata, which was agreeable if of none too heavy musical content. His playing now shows improvement in the quality of tone produced.
9Margarethe Kolbe is a Sevcik pupil who showed decided accomplishment in a recital of a D minor concerto by Tar-
11Robert Bruger, Peter Fröhlich (New York) and Frederick Search (Cincinnati), accompanied very well in the aria. The piano accompaniments were played by Ella Müller (Berlin), in fine character and fullest support. The singer is one of those few heard here in a season who have come into possession of a real legato as it should be employed in the broad lyrics of the French and Italians, or as it should be employed occasionally in the lyrics of Brahms or of Hugo Wolf. Nevertheless, the third man on the usually reliable Tageblatt wrote that she couldn't sing legato and that she was disposed to force her lower tones. Here he was wrong again. He heard the correct use of the female full voice (so called chest voice), and didn't know it. His idea comes in as a leftover from what was for innumerable years the prevailing vocal law in Germany—that a woman was never to employ full voice (chest voice) in low tones. In this connection it should be stated that Germany has made and is making great progress in vocal ideals, just as its present ideals of violin playing represent revolution when compared to what they were ten to fifteen year ago. Fräulein Martini has been for some years under instruction of Georg Fergusson, with whom she remains for continued study. She has recitals booked for Berlin and Dresden.
13Marie Louise Debogis, soprano, gave a recital to the fine accompaniments of Arthur Smolian, critic on the Leipziger Zeitung. Her program had a Handel aria, songs by Bach, Mozart, Schumann, Schubert, Wagner, Berlioz, Debussy and Liszt. She employed a fine voice well and sang in delightful musical quality, as a person who was really musical.
15Bernice Roche Oberwinder, pianist, of Los Angeles, has been for some years with Carreño in Berlin. She has just been down to Leipsic for a debut in recital, after which she plays in Dresden and Berlin. Her program showed the Bach chromatic fantaisie and fugue, the Chopin B flat minor sonata, a Sinding impromptu, a Jordan capriccio, Ernst Backer's "In der Spinnstube," Rachmaninoff's G minor prelude, Rubinstein's barcarolle, Liszt's cantique d'amour and his "St. Francis" legende. The best of the playing was that of the Bach and all of the solo pieces. There was unrepose in the sonata, which is not easily accounted for in view of the very fluent technic and enjoyable reflection and warmth of the later playing. The artist will remain abroad for some seasons.
17At an entertainment of the Leipsic Pedagogical Verein, the young pianist, Iffia Schkarovsky, of Odessa, played a Liszt "Liebestraum," an Arensky ballade and the Chopin A flat polonaise. Others appeared as amateurs, among them a Fräulein Böhm, who sang very creditably. The very young pianist will soon play the Tchaikowsky B flat minor concerto for her public examination at the Leipsic Conservatory, where she is a pupil of Carl Wendling. While on her vacation last summer she played the work with orchestra in Odessa. She shows much talent and a
19AN OLD CARICATURE OF GRIEG.
21Mme. von KLENNER
22VOICE CULTURE, STYLE AND REPERTOIRE
23SOME OF HER PUPILS—Florence Mulford, Contralto, formerly Corried Metropolitan Opera Co.; Kathleen Howard, Contralto, Franklin A-Main Opera Co.; Cora de Fillipe, Soprano, Grand Opera Co.; Katherine N. Figue, Eleanor Creden, Lillian V. Watt, Grace Ames, Sarah Evans, Lillie May Welker, Adah Benzing, Frances Travers, Katherine S. Bonn and the celebrated
24VON KLENNER QUARTET
25West 301 57th Street, New York
26MME.
27DORA WILEY-TENNIS
28KNOWN ON THREE CONTINENTS AS
29"THE SWEET SINGER OF MAINE"
30Voice Culture, Pure Tone, Perfect Breath Control, Distinct Enunciation, Great Extension, Range and Rapid Improvement.
31POSITIVELY GUARANTEED
32Voice Trial Free. Monthly Monthly. Address: 116 West 84th St., New York City—Phone, 7338 River
33REINALD WERRENRATH
34Management The Henry Wolfsohn Musical Bureau
35Residence: Marie Court, Cor. 179th St. & B'dway, New York
36'Phones, Audubon 1225 and 3503
37BARYTONE MYRTLE
39Theodore Habelmann's Operatic School
40909 West End Ave., Bet. 104th and 105th St. Subway Station 103rd St.
41'Phone, 7038 Riverside
42NEW YORK
44Charlotte LUND
45SOPRANO
46In America until May
47No. 143 East 21st Street, New York
49EDITH
50HARCKÉ
51Address: Care of American Musician, 437 Fifth Avenue, New York
52Vaudeville's Latest Novelty
53CARBONE BREATH CONTROLLER
54THE WONDERFUL APPARATUS FOR BREATHING EXERCISES and to DEVELOP LUNGS and CHEST
55CARBONE MIROPHONE (CIRCULARS ON APPLICATION)
56A. CARBONE, ART OF SINGING IN ALL BRANCHES
57Highly recommended by the famous Tenor Bonci and other celebrities.
58CARNEGIE HALL, NEW YORK
60ELVYN
61Second American Tour
62Under the Exclusive Management of
63HAENSEL & JONES
641 East 42d Street, New York City
65KIMBALL PIANO USED
67SEASON 1909-1910
68SCHUMANN-HEINK
69Trans-Continental American Tour
70Direction:—THE WOLFSOHN MUSICAL BUREAU
71THE STEINWAY PIANO
721 West 34th Street, New York
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