Scan 9
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
49 lines. Read by computer on 25 September 2026. No printed page number was found. See the scan on archive.org.
1disposition to play in an imposing manner, but it will be some seasons before she is musically mature. In December her seven-year-old brother, Nissen Schkarovsky, played the Rode eighth violin concerto at a concert in Odessa and attracted much attention. An unnamed photograph of him was reproduced in THE MUSICAL COURIER last year as a sample of "Paganini timber" at Leipzig Conservatory. The little fellow was here under Hans Becker.
3EUGENE E. SIMPSON.
5MUNICH MUSICAL RECORD.
6MUNICH, Germany, January 26, 1910.
7The fifteenth Volks Symphonie concert at the Tonhalle, director Paul Prill, had Beethoven's second symphony, D major, as principal feature, followed by a piano concerto by Felix von Rath, of four tempos in one movement, played by Emmy Braun, and Hans Pfitzner's overture to Kleist's "Käthchen von Heilbronn" as closing number. The ensemble of this, the "Konzertverein" orchestra, is constantly on a high plane of efficiency, due to directors Löwe and Prill and numerous rehearsals, and any classical composition is sure to be well done and equally well interpreted. The very modern, effective and brilliant concerto was well played by Miss Braun. The Pfitzner overture contains many beautiful as well as many discordant effects. Selections from five Wagner operas, namely, "Rienzi," "Flying Dutchman," "Tannhäuser," "Lohengrin" and "Meistersinger," made up the program of one of the numerous so called Popular Concerts by this same orchestra. How the musical times and atmosphere have changed in the last quarter century! Now is Wagner become a daily happening, and his works are as cordially hailed as old friends, and as popular.
9Dr. P. Hartmann's oratorio "Das Letzte Abendmahl" ("The Last Supper") for solo voices, chorus, orchestra and organ, was given for the first time, January 17, under the direction of the composer. Pater Hartmann is a Franciscan monk and directed in the order's brown garb. The performance was a fair one only, for the Pater is not an experienced director. The composition is remarkable for a monk, interesting and effective in parts, but, on the whole, not exactly exciting. A more energetic director of greater routine might have obtained better tonal shadings from the orchestral forces, and the chorus, of good material, could have been made to stand up and sit down with much more promptness as well as to attack with more energy. The soloists were: Marie Möhl-Knabl, soprano; Marie Götz, alto; Hans Edgar Oberstetter, baritone; Emanuel Kroupa, basso, and the organist was Adolf Hempel. There was also an invisible solo double quartet of ladies' voices that had several effective unaccompanied numbers. The performance was under the protectorate of H. R. H. Princess Ludwig Ferdinand of Bavaria.
11In the Jahreszeiten Hall, Arrigo Serato, a very remarkable violinist, gave a Bach evening in which he had the assistance of a small string orchestra of four first and four second violins, two each of violas, cellos and basses, and a large harmonium (cabinet organ) under Iwan Fröbe's direction. The program read as follows: Concerto No. 1, A minor, with orchestra; adagio and fugue, G minor, for violin solo; sonata, E minor, instrumentated for orchestra and organ by Ottorino Respighi; concerto No. 2, E flat, with orchestra. This extraordinary Italian, who is equally great as violinist and Bach interpreter, scored a big popular success.
13Marguerite Melville, pianist, played Brahms' variations, op. 9, piano pieces, op. 119, Schumann's "Kreisleriana" and sonata, op. 11, so well on the 24th that she was obliged to add two encores. I admired especially the four pieces, op. 119, by Brahms.
15The King's Court Orchestra, under Felix Mottl's direction, in its fifth concert at the Odeon, played Mozart's ever beautiful and delightful G minor symphony, accompanied by Marg. Preuse-Matzenauer in five Wagner songs, and in conclusion gave Richard Strauss' "Ein Heldenleben" a wonderfully effective performance. Bruno Ahner was the solo violinist.
17The fourth concert of the Tonkünstler Orchestra, Iwan Fröbe director, gave us Beethoven's second and fifth symphonies, and between these two classics Marianne Rheinfeld sang four of the same master's songs in sympathetic voice and style. The readings of classics, with the many little variations in shadings, tempos and styles—as suggested by the two performances of Beethoven's second symphony—are very interesting to note, for there are always other heads, hands and hearts who can make good, great and grand music, though differing in minor details. Iwan Fröbe is a very talented young director, who, with other requisites, has a very keen, strong sense of rhythm.
19Marie von Stubenrauch, violin, and Erike von Binzer, piano, both excellent players and musicians, gave a program embracing Schubert's "Rondeau Brillant," op. 70; H. G. Noren's sonata, op. 33 (first performance), and Schumann's, op. 121, No. 2, and of these I heard only the last number, which was played beautifully and temperamentally.
21In the brilliantly decorated white and gold Bayreischer Hof Hall, Marie Dubois played a program of French compositions from Couperin (1608-1733) down to the very present moment of G. Fauré and Debussy, in a most charming and fascinating manner. There were eleven little, quaint antiques in which Marie Dubois did the nicest, cleanest and most artistic work in the numerous little, tricky embellishments and trills that I have ever listened to. Her musical and technical ability enabled her to do successfully the more modern of the twenty-four pieces performed before a very small but thankful audience.
23On the same evening, in the rather unpleasant old Museum Hall, I heard part of Aloys Kramer's piano recital. This quite young man will develop into a concert pianist only after a severe course of training, for the talent, technic and temperament here all need the restraining, clarifying and refining process.
25The Faching Carnival is on here in full blast; all of the large establishments have masquerade ball, bal paré and redouten, given by all sorts of societies and organizations for benevolent and other purposes—particularly the latter—every evening of the week for five weeks. Then comes Lent!
27Dr. W. L. BLUMENSCHEN.
29Jackson Music.
30JACKSON, Miss., February 4, 1910.
31The recent holiday season was marked, in this city, by several musical events which were rather in the nature of social functions. Mrs. Murrah gave a very charming musicale in honor of Mrs. G. T. Fitzhugh, of Memphis, Tenn., on which occasion a delightful program was rendered. Both Mrs. Fitzhugh and Mrs. Murrah have beautiful voices and they were ably assisted by some of the best local talent.
33C. E. Hoover, choir director of the First Baptist Church, entertained his choir and other friends with a musicale at his home on Grand avenue. The program was varied and very interesting. Vocal numbers were given by Mrs. Tull, Miss Galley, Miss Key, Mr. Sykes, Mr. Meaders and Mr. Hoover; piano numbers by Miss Harmon and Miss Giltner; readings by Miss Key and Mrs. Sharp, and a violin number by Miss Giltner.
35A youthful pianist, Beryl Rubinstein, of Athens, Ga., has been touring the South visiting Jackson just before the holidays. He is about eleven years of age and his playing indicates good training and very promising talent.
37E. D. G.
39Horatio Connell at Saturday Club.
40The success of Horatio Connell at the Saturday Club of Sacramento, Cal., was referred to in the Sacramento (Cal.) Union of January 27 as follows:
42Mr. Connell is a singer of so many excellent qualities that one wonders which is the most enjoyable, his beautiful mellow voice, well cultivated and of exceptional range; his perfect enunciation, which was so clear that even in the softest places every word could be distinctly heard in the back seats of the balcony; his clear and intelligent phrasing, or his refined musical taste and style.
44In addition to these qualities, rarely found in such delightful combination, the artist proved himself an exponent of that higher vocalism which strives to reveal the poetic meaning and spirit of the text. The dramatic manner in which this was done in the somber "In questa tomba oscura" and the tragic story of the "Erlkönig," with Loewe's setting was moving and good to hear.
46The exquisite delicacy that was given to the lighter songs, and several spots of the Brahms songs in particular, is deserving of special praise, for such is rarely heard from a singer who possesses the abundance and breadth of tone that is the gift of Mr. Connell.
48That the audience was highly appreciative of the artist's efforts was clearly demonstrated by the emphatic applause that often compelled an encore or repetition.
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