Books › Musical Courier 1911-03-22: Vol 62 Iss 12, 1911 › scan 13
Scan 13
Musical Courier 1911-03-22: Vol 62 Iss 12, 1911
50 lines. Read by computer on 26 September 2026. Printed page 14. See the scan on archive.org.
1Artists contemplating American engagements can secure valuable practical advice by consulting Mr. Delma-Heide, Paris representative of The Musical Courier.
330 RUE MARBEUF (CHAMPS-ELYSEES).
4Cable and Telegraphic Address: "Delmaheide-Paris."
5PARIS, March 6, 1911.
7The three "Fausts" of Schumann, Berlioz, Liszt, attracted numbers to the Concert Lamoureux, Salle Gaveau, yesterday afternoon.
9"Schumann," I said, "this is a wondrous story
10Of tears so bright they dim the scraph's glory."
11"Berlioz," I said, "thy strong hand makes me weep,
12That God did ever wake a world from sleep."
13Liszt has perhaps translated most exactly Goethe's thought in music, and his is the Marguerite, with blond tresses and eyes wherein dwell love's illusions and possibilities. The interpretation of the solos yesterday was most appreciative. Jeanne Raunay's sympathetic voice aroused eloquent pleading for Marguerite; Oscar Seagle's ringing baritone betrayed a master's art, and MM. Paulet (tenor), Laromiguère, and Bounte (organ), all contributed to the general success with orchestra and chorus numbering 200 executants directed by Camille Chevillard.
15The Conservatoire concert offered its patrons the A major symphony of Beethoven; a repetition of a cantata by Bach, and "T'Antar," symphonic poem by Rimsky-Korsakov, all of which were cleverly played by the orchestra; but M. Messager seems to conduct any sort of music better than that of the great Johann Sebastian Bach.
17At the Colonne concert (Théâtre du Chatelet), M. Pierné gave Beethoven's D major Mass in a manner worthy of the great master. Orchestra, chorus and soloists interpreted with sympathetic skill. Mesdames Mastio and Povla Frisch, MM. Nansen and Fröhlich and Firmin Touche, violinist, sustained the solo parts. Chorus and orchestra numbered 300 members.
19The concerts due to the publisher Durand's initiative have begun with a sonata for piano and violin by Gustave Samazeuilh. MM. Cortot and Thibaud gave an admirable performance of this sonata, which is quite out of the ordinary. Ricardo Vines played three "Poèmes pour piano" by Maurice Ravel, ably overcoming the instrumental difficulties.
21The concert arranged at the Théâtre Réjane, under the patronage of H. R. H. the Infanta Eulalie and the presidency of the Duchess of Lévis-Mirepoix and the Marquise de Villehermose, was one of exceptional musical interest. The Comte de Fleury, administrator of the Soutien Français, organized their concert in a most happy manner. Charles M. Widor amicably consented personally to direct the orchestra. The overture of the "Noces de Figaro" and the "Conte d'Avril" were a real treat. Madame Edvina graciously sang the air from "Louise" and several stirring melodies which did not fail to move her listeners to enthusiastic admiration. Léon Delafosse, one of the great pianists of the day, helped in the success of the concert by his playing of Bach's concerto for piano, two flutes and orchestra, and the polonaise of Chopin, for piano and orchestra; also two of his own delicately fanciful compositions. MM. Blanquart and Million, the two admirable flutists, won personal success in the Bach concerto.
23The Sechiari concert at the Théâtre Marigny, in the Champs-Elysées, gave a first audition of Claude Debussy's rhythmic and charming "Ballades de Villon," in which the orchestra was conducted by the composer himself. Charles W. Clark sang with his well known talent and musical appreciation these old time ballads in their modern setting. Victor Gille, with delicate perfection of technic, interpreted Chopin's concerto in F minor and the fantaisie on Polish airs. Mr. Clark, by the way, will open his American tour.
25The song recital given at the Salle des Agriculteurs by Julia Hostater, assisted by Alfred Casella at the clavecin and the piano, was in every way most successful. The range of song covered melodies from the seventeenth and eighteenth centuries, accompanied on the clavecin; through Mozart, Beethoven, Schumann, Franz, Brahms and Loewe.
27Norah Drewett, who has been playing in concert at Monte Carlo the fifth consecutive season, is enjoying a short stay in Paris en route to Berlin. Relative to her success at Monte Carlo, the Daily Telegram of that place says:
29The close of the concert was the piano playing of Norah Drewett, who now stands in the front rank of pianists. . . . Her rendering of the ballade of Chopin was quite remarkable, but the Mendelssohn-Liszt selection showed off her technic to great advantage, and in response to enthusiastic applause she gave a delightful rendering of the etude of Chopin, which so delighted her hearers that they demanded yet more, and after repeated recalls she gave a most finished and delicate execution of the berceuse of Chopin. It is rarely that an artist, especially a pianist, receives three encores, as was the case last night, but Miss Drewett's talent is such that she is a great favorite with concert goers here.
31In their spacious apartments, Boulevard Malesherbes, Madame Lamperti and Madame Valda gave a delightful musical reception on Saturday afternoon, which served to present two of the pupils of the Ecole de Chant Lamperti-Valda. The program was a long and attractive one, including some instrumental music played by MM. Mousikant and Dillon, who opened with the Beethoven "Kreutzer" sonata, first movement. Later Mr. Mousikant played the "Fantasia Impromptu" of Schumann and Mr. Dillon the "Souvenir de Moscou" of Wieniawski, both winning much applause for their work. Mlle. Chambellan of the Opéra-Comique gave a brilliant execution of the "Bell Song" from "Lakmé," and Innocenzo Caldeira (formerly of La Scala, Milano), showed his artistic ability in a number of sixteenth, seventeenth and eighteenth century Italian melodies, and chansons by André Fijian. The two pupils, Victoria Harrel and Wave Whitcomb, both in their solo work and in their concerted numbers, made an interesting appearance, doing themselves and their teachers much credit. Their singing gave evidence of system and method of instruction, proving that the school's teaching is not on haphazard lines, but is founded on correct principles. Miss Whitcomb first sang "O cieli azuri" from Verdi's "Aida."
33STUDY MUSIC IN PARIS
34A. J. GOODRICH
35Florence A. GOODRICH
36PIANO, SINGING, HARMONY, MEMORIZING, COMPOSITION, ORCHESTRATION, TIME and LABOR-SAVING METHODS
374 Square Saint Ferdinand, Paris
39B. Ganaye. He has written numerous pieces of chamber music: sonatas, trios, string quartets, quintets; songs and orchestral compositions.
41Arthur Shattuck, the gifted American pianist concertizing in Europe, is spending a day or two in Paris on his way from Bucharest to Leipsic, in which latter city he is engaged to play in concert with orchestra, under direction of Herr Winderstein. After Germany Shattuck returns to Roumania for concerts, visiting also Austria and Hungary, Russia, etc., and finishing in Constantinople. Next season, Arthur Shattuck will tour the United States and Canada.
43The song recital given at the Salle des Agriculteurs by Julia Hostater, assisted by Alfred Casella at the clavecin and the piano, was in every way most successful. The range of song covered melodies from the seventeenth and eighteenth centuries, accompanied on the clavecin; through Mozart, Beethoven, Schumann, Franz, Brahms and Loewe.
45Norah Drewett, who has been playing in concert at Monte Carlo the fifth consecutive season, is enjoying a short stay in Paris en route to Berlin. Relative to her success at Monte Carlo, the Daily Telegram of that place says:
47The close of the concert was the piano playing of Norah Drewett, who now stands in the front rank of pianists. . . . Her rendering of the ballade of Chopin was quite remarkable, but the Mendelssohn-Liszt selection showed off her technic to great advantage, and in response to enthusiastic applause she gave a delightful rendering of the etude of Chopin, which so delighted her hearers that they demanded yet more, and after repeated recalls she gave a most finished and delicate execution of the berceuse of Chopin. It is rarely that an artist, especially a pianist, receives three encores, as was the case last night, but Miss Drewett's talent is such that she is a great favorite with concert goers here.
49In their spacious apartments, Boulevard Malesherbes, Madame Lamperti and Madame Valda gave a delightful musical reception on Saturday afternoon, which served to present two of the pupils of the Ecole de Chant Lamperti-Valda. The program was a long and attractive one, including some instrumental music played by MM. Mousikant and Dillon, who opened with the Beethoven "Kreutzer" sonata, first movement. Later Mr. Mousikant played the "Fantasia Impromptu" of Schumann and Mr. Dillon the "Souvenir de Moscou" of Wieniawski, both winning much applause for their work. Mlle. Chambellan of the Opéra-Comique gave a brilliant execution of the "Bell Song" from "Lakmé," and Innocenzo Caldeira (formerly of La Scala, Milano), showed his artistic ability in a number of sixteenth, seventeenth and eighteenth century Italian melodies, and chansons by André Fijian. The two pupils, Victoria Harrel and Wave Whitcomb, both in their solo work and in their concerted numbers, made an interesting appearance, doing themselves and their teachers much credit. Their singing gave evidence of system and method of instruction, proving that the school's teaching is not on haphazard lines, but is founded on correct principles. Miss Whitcomb first sang "O cieli azuri" from Verdi's "Aida".
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