Books › Musical Courier 1910-03-02: Vol 60 Iss 9, 1910 › scan 42
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Musical Courier 1910-03-02: Vol 60 Iss 9, 1910
70 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 43. See the scan on archive.org.
1TWO BOSTON SYMPHONY CONCERTS.
3Two concerts were given at Carnegie Hall last week by the Boston Symphony Orchestra, with these programs:
5THURSDAY EVENING, FEBRUARY 24.
6Unfinished Symphony ……………………………………… Schubert
7Double Concerto for violin and cello …………………….. Brahms
8Symphonic poem, The Island of the Dead ………………… Rachmaninoff
9Prelude, Meistersinger ……………………………………… Wagner
11SATURDAY AFTERNOON, FEBRUARY 26.
12Rustic Wedding symphony ………………………………… Goldmark one of two readings
13Rustic Wedding symphony ……………………………………. Goldmark one of two readings
14Thus Spake Zarathustra …………………………………… Strauss one of two readings
15Thus Spake Zarathustra ……………………………………… Strauss one of two readings
16Prelude and finale, Tristan and Isolde ……………………. Wagner one of two readings
17Prelude and finale, Tristan and Isolde …………………….. Wagner one of two readings
19With the exception of Rachmaninoff's tone poem, which was reviewed at length in THE MUSICAL COURIER when that work had its European première, the foregoing programs of the Boston Symphony Orchestra offered nothing in the way of real or quasi novelty. The organization itself played with all its customary finish of execution and polish of tone and phrasing. THE MUSICAL COURIER has expatiated so often upon those virtues that it will give the hard worked terminology of musical praise a rest on this occasion, and let the programs stand as sole record of an evening's and an afternoon's rare orchestral enjoyment. Thus is musical criticism made easy for the concert worn reporter.
21Gisela Weber in Buffalo and Canada.
23Gisela Weber, the American violinist, continues to receive only the most eloquent criticisms. She has played at numerous concerts since the New Year. A few weeks ago THE MUSICAL COURIER published a page of press notices on the concert performances of this gifted artist. Today, reviews of her playing in Buffalo, N. Y., and Toronto and Ottawa, Canada, are appended:
25GISELA WEBER GIVES PLEASING PROGRAM.
26Violinist's Playing Delights Large Audience at the Twentieth Century Club—Satisfactory Work of Pianists.
28At the Twentieth Century Club last evening, Gisela Weber, a violinist new to Buffalo, gave a recital before a good sized audience. The artist was assisted by Madame Holmes Thomas at the piano, and Aline Fredin acted as accompanist. Madame Weber used a genuine Stradivarius, from which instrument she drew a beautiful rich tone. Her program included the sonata in D major by Handel, as well as the taxing Brahms sonata in A major. In these two heavier numbers she demonstrated her abilities as a violinist of the modern school and displayed a well-grounded technic and refinement which revealed itself best in the sonata by Handel, certain movement in the adagio being of rare beauty of tone and full of poetic feeling. In the Brahms number Madame Weber at times fully expressed its many hued variety, and a certain luminosity of tone that lent a charm to its interpretation. Three short numbers that were enjoyable were "Romanza" by Svendsen, a Bach air and a minuet by Mozart, all of which found favor with the audience. "La Folia," by Corelli, with its variations, offered ample opportunity for the artist's versatility, while the excellence of her bowing was a notable feature of all her interpretations. Madame Weber was warmly received, and at the close of the program was recalled to bow her acknowledgments.—Buffalo Enquirer, February 11, 1910.
30RAREST GENIUS SHOWN BY GISELA WEBER WITH A GENUINE STRAD.
31Famous Violin Artist Delighted Appreciative Audience with Program of Beautiful Selections.
33Madame Weber's interpretation was that of the serious, earnest student. There was mastery of technic, distinct intonation and a splendid command of an expression that was wide in its range. She plays with certainty, with strength and with a certain command, which leaves with the listener the feeling that her mastery of the instrument is unerring. Notwithstanding the seriousness of her interpretation, there was a fluidity of tone expression, poetical in the extreme. The Brahms sonata demanded all the sympathy and delicacy of the accompanist, Madame Thomas, and she was thoroughly satisfactory and acceptable. Madame Weber came under the local management of Louis W. Gay.—Buffalo Times.
35Madame Weber possesses certain qualities which make her playing quite individual, and her program was made up of numbers which brought out these individual qualities prominently, thereby justifying the wisdom of her selections. She possesses a broad tone with plenty of sonority and a wealth of technic. There is a musical abandon in her playing that shows genius and she plays with a fervor and a glow that clearly indicate her musicianship. In the opening number, sonata by Handel, she played with a pure tone throughout and her attacks were absolute. The pleasing melody of the larghetto she played with a fine singing tone and the allegro was taken at a good tempo, yet every note was played with clearness and purity of tone. The sonata by Brahms was, no doubt, the best number on the program, and the audience appreciated the efforts of the artist in this number. Madame Weber played "La Folia," by Corelli; "Romanza," Svendsen; air on the G string, Bach, and a charming minuet, by Mozart. In these four solo numbers she exhibited all her finesse of feeling and technical ability.—Buffalo Commercial.
37Madame Weber is a classical interpreter rather than a virtuoso type. She has a most attractive stage presence, which goes some distance even when a performer is mediocre, and Madame Weber is very far from that. Her program was a severely classical one, and she played it with an authority, a full sweep of the bowing arm that stamped her at once as an artist of power and distinction. Her tone is rich and satisfying and has an impressive largeness about it. She plays with rare smoothness and with adequate warmth. Her first number was Handel's sonata. She played the old fashioned florid passages of the earlier movements with grace and ease, and gave a most tender and satisfying rendering of the delicate larghetto. Of rare technical interest was her rendering of the "Variations Seriose" of Corelli. These include a sustained cadenza, in which she exhibited a tone of organlike breadth and fullness. The same qualities of felicity, dignity and power stamped her interpretations of the balance of her program, which included the famous air by Bach and the Brahms sonata in A major.—Toronto Mail and Empire, February 10, 1910.
39Gisela Weber, a solo violinist of sterling technical equipment, and the producer of a fine, broad, sympathetic tone, gave a recital last night at the Conservatory Music Hall. Her program included Handel's sonata in D major and the Brahms sonata in A major, with Madame Holme Thomas at the piano, and as solos with accompaniment Corelli's "La Folia," Svendsen's "Romanza," the Bach aria for the G string and the minuet from Mozart's "Divertimento." In all of these she showed distinction of interpretation with tem- peramental individuality.—Toronto Globe.
41Because of her masterly technic, sympathetic interpretation and brilliant rendering, Gisela Weber, violinist, delighted a fashionable and critical audience at St. Patrick's Hall last night. Miss Weber's artistic attainment is of the highest order, and she possesses also a charming personality and refreshing manner. Through the difficult passages of a varied and exacting program, Miss Weber conducted her delighted audience, each number eliciting the same sympathetic response. Her selections included the works of Handel, Bach, Mozart, Brahms and Corelli. In larghetto by Handel, Miss Weber's skillful technic and artistic interpretation was especially illustrated.—Ottawa Free Press, February 15, 1910.
43The largest audience to greet an instrumentalist in St. Patrick's Hall was that last evening when an appreciative and fashionable gathering heard the well known violinist, Gisela Weber, of New York, and judging from the reception accorded the artist a cordial welcome will await her on any future visit to the capital. Mrs. Weber proved herself an accomplished as well as talented player, and while her playing was brilliant it was characterized by an almost absolute pitch and broadness and sympathy of tone. The player's technic and mastery of her instrument was evident throughout, and in all her selections an ease and grace added not a little to the charm and subtle quality of her rendition of the classical selections, awakening warm appreciation and applause from the audience, which included most of the capital's musical authorities and critics. Her program included a group of Handel's sonatas in D major, adagio, allegro, larghetto allegro, and a group of Brahms in A major, andante, tranquille, vivace, andante, vivace piu, andante, a romanza by Svendsen, air by Bach, minuet by Mozart, and "La Folia" by Corelli—Ottawa Evening Journal.
45Clarence Adler as Soloist.
47Clarence Adler appeared recently in recital and as soloist with the Flonzaley Quartet. A few press notices follow:
49The members of the quartet were as enthusiastic in their applause as the audience, and almost obliged Mr. Adler to respond to an encore when the modest young man was content to bow and bow again his acknowledgments after his piano solo. Mr. Adler gave evidence of excellent taste in his selection of piano numbers, playing only such numbers as would fit into the artistic program the Flonzaley's had already announced.—Columbus Herald-Dispatch, February 13, 1910.
51Mr. Adler plays with enthusiasm and a generally round and musical tone. That he possesses dextrous fingers was shown by his rapid execution in the Kullak octave study. In the Schubert impromptu he gave evidence of genuine musical feeling, and this selection was enthusiastically applauded.—Ohio State Journal, February 13, 1910.
53In summing up the program and performance as a whole, it is perhaps permissible to say that no pianist surpassing Mr. Adler has ever appeared before a Huntington audience.—The Huntington Herald-Dispatch.
55Positions for Carl Pupils.
57Arthur H. Arneke, a pupil of William C. Carl, and postgraduate of the Guilmant Organ School, has signed with Dean Harper as head of the piano and organ department at the Lawrence Conservatory of Music, Appleton, Wis., for next year. The offer made by Dean Harper was a flattering one and advantageous in many ways. Mr. Arneke will enter upon his duties at the Conservatory early in September.
59Another Carl pupil who is having eminent success in school work is Frederic Arthur Mets, who for the past three years has been head of the music department in Centenary Collegiate Institute, Hackettstown, N. J. Mr. Mets is a postgraduate of the Guilmant Organ School and a brilliant performer. Since his advent at the Institute the grade of work has been enlarged and the standards raised to a large degree.
61W. Ralph Cox, of the class of '08, gave a successful recital in the Thirteenth Street Presbyterian Church, of which he is organist and choirmaster, last week; and Prue Robinson Baird played a recital under the auspices of the American Guild of Organists, last Friday evening in the Metropolitan Temple, New York, before a large and enthusiastic audience.
63Eugene C. Morris has been engaged as organist and choirmaster of Grace Presbyterian Church, Brooklyn, beginning May 1, and Troll Rees has been engaged as organist and choir director at the Fort Washington Reformed Church, New York City, and has already begun his duties there.
65Mr. Carl has been very happy this season in placing a large number of students and securing excellent positions for them. Committees are in constant communication with him and several other important engagements are now being definitely settled upon.
67Harry Oliver Hirt, who for the past two years has officiated at the Bloomingdale Reformed Church, New York City, has been engaged for the Classon Avenue Presbyterian Church, Brooklyn, at a large increase of salary.
69Harold Vincent Milligan has signed a new contract at the Rutgers Presbyterian Church, New York, with a raise of salary. Mr. Milligan will give a recital under the auspices of the American Guild of Organists, Monday, March 14, at 8:15 o'clock in Rutgers Church.
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