Books › Musical Courier 1913-11-12: Vol 67 Iss 20, 1913 › scan 10
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Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
94 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
1that promises to be unusually interesting, in view of the artist's youth and other circumstances which shall be chronicled shortly.
3Professor Leschetizky has been invested by the Czar with the Grand Cross of the Stanislaus Order.
5Doris Barnett, pupil of Professor Godowsky, is at present in London, where she is playing at a series of concerts arranged for since last spring.
7Verdi's "Aida" was splendidly given at the Royal Opera on Monday last, with William Miller as Radames.
9The following operettas are to be produced for the first time here in the course of the next week: "The Poor Millionaire," by Josef Bauer; "Polish Blood," by Oscar Nedbal; "Lieutenant Gus," by Eysler; "The Night Express," by Leo Fall, and "The Fair Unknown," by Oscar Strauss.
11FRANK ANGOLD.
13CENTURY SUNDAY MUSIC.
15Last Sunday evening's concert at the Century Opera House, New York, was as pronounced a success as each one of these concerts has proved to be since the beginning of the season. The orchestra's part of the program consisted of the overture from "Rienzi," "Peer Gynt" suite (Grieg), bacchanale from "Samson and Delilah" (Saint-Saëns), and "Pomp and Circumstance" (Elgar), all of which were excellently played, the orchestra showing improvement in its ensemble work, and the brass choir, which was at the beginning of the season rather harsh, now being much more satisfactory.
17The vocal part of the program was too long to be given here in detail, but particular attention may be called to Gustaf Bergman's splendid rendition of the Otello death scene (Verdi). Mr. Bergman has been suffering from a cold, but has evidently quite recovered, and his splendid dramatic tenor voice and excellent interpretation were never better shown than on this occasion. Thomas Chalmers sang an aria from "Faust" and one from "The King of Lahore" (Massenet), giving great pleasure. Ivy Scott sang the bird song from "Pagliacci" (Leoncavallo) very effectively.
19There were numerous changes on the printed program, Jayne Herbert being substituted for Walter Wheatley, Morgan Kingston singing an aria in substitution for a quartet from "Martha," and Mr. Chalmers taking the place of Alfred Kaufman. The program was evidently very much to the taste of the large audience, which was generous in its applause.
21Corpus Christi Items.
23Corpus Christi, Tex., October 28, 1913.
25The musical season has opened and is in full swing in this progressive Texas city.
27The Lyceum Course under the management of Miss Mettie Griffin has had the unqualified support of many people, who expect to enjoy each program.
29The Harmony Club presented a program on October 13. All compositions were by American women composers. Mrs. Edwin Flato was hostess.
31Mrs. Gibson Joiner has charge of the First Methodist Church choir, and has also booked a large vocal class.
33The Corpus Christi Choral Society sang "Carmen," by H. Lane Wilson, and "The Lost Chord," Sullivan, recently. The occasion was the Texas State Federation of Woman's Clubs, held October 11-13 at the elegant new Methodist Church, just completed.
35Gertrude Case's pupils gave an interesting piano recital on Saturday, October 25, at her studio on Mesquite street.
37Mrs. Trask, a graduate of the New England Conservatory of Boston, has all her time filled for the season.
39LUILLA GIBSON JOINER.
41Manager Richardson Books John Finnegan.
43John Finnegan, the noted Irish tenor, has a very busy season before him. In addition to a tour that has been arranged for him later on in the season, G. Dexter Richardson, his manager, has booked him with a number of prominent clubs, societies, etc., which include appearances in the following cities: In New York City, at the Hippodrome, on November 23; Brooklyn, Fourteenth Regiment, November 26; Paterson, N. J., December 1; Hoboken, N. J., December 7, and a tour through Maine with Lillian Blauvelt, prima donna soprano, from December 9 to 21. This brings him back to the metropolis just in time for Christmas rehearsals and festival services at the Cathedral, Fifth street and Fifth avenue.
45Thompson's Splendid Reception in London.
47If a full house on a rainy day, enthusiasm of an audience and many recalls are signs of success, then John Thompson, the young American pianist, should feel satisfied at his reception by an English audience. Mr. Thompson gave his first piano recital in Bechstein Hall, London, Tuesday, October 24.
49English press opinions are appended below. Favorable comment on the pianist's Schumann playing in a city which claims Harold Bauer as her own product should be an especial occasion for pride.
51On Tuesday, October 24, the American Ladies' Club tendered the pianist a reception.
53After a second recital in London Mr. Thompson went to Berlin, where he appeared in recital on November 6, and will give a second, November 13.
55These are the London press comments upon the first recital in that city:
57The young American pianist who made his first appearance in London at Bechstein Hall yesterday afternoon is unlike a great number of his countrymen in the fact that he has pursued his musical studies entirely in his own country—to be precise, in Philadelphia. Technically, he is very accomplished. His performance of Liszt's fantasia on the theme B-A-C-H at the very beginning of the program left no doubt about his control of tone through the action of fingers and wrists. His musical treatment, too, was refined; he took no liberties and aimed at no superficial effects.—London Times.
59He is certainly a pianist with remarkable technical dexterity. In his performance of a Liszt fantasia and fugue and of the "Waldstein" sonata he displayed a technical fluency and brilliancy of no mean order.—London Daily Express.
61Mr. Thompson was most convincing when dealing with reflective pieces. In these he revealed a persuasive tone and a generally good style. The pianist was obliged to add to his program at the end.—London Morning Post.
63His playing of Schumann's "Aufschwung" and "Ende vom Lied" was a real pleasure, and the rippling phrases of a toccatina by Henselt and the lightness of touch necessary for Mendelssohn's scherzo in E minor were salient features of his playing, which is always fresh and invigorating and animated with splendid vigor and fluency.—London Standard.
65Mr. Thompson has a fine technic and a strong rich tone; his playing, too, has a good deal of warmth and intuition. He made an excellent start with Liszt's fugue on the name B-A-C-H, playing this with much brilliance and sense of effect. In the rest of his program Mr. Thompson also did some excellent work, notably in two Schumann pieces and a rigaudon of Rameau (arranged by Godowsky).—London Daily Chronicle.
67At Bechstein Hall yesterday afternoon the favor of an English audience was claimed for the first time by John Thompson, an American pianist of more than ordinary distinction. In the opening part of his program Mr. Thompson quickly made it clear that technical problems had no terrors for him. His tone was finely graded and never forced, and every detail sounded as crisp and clear as could possibly be desired. He never condescended to be noisy, but his playing, though quite fluent and unaffected, was more notable for brilliance than for depth. Subsequently Mr. Thompson proved in some Schumann numbers that he aimed at something higher than the role of virtuoso.—London Globe.
69He gave Liszt's fantasia and fugue on the theme B-A-C-H in a very virile manner. Later his performance of Beethoven's sonata was the means of displaying an unusual degree of careful phrasing.—London Pall Mall Gazette.
71He has a finely polished technic and a pleasant touch that produces a charming tone, which, in spite of much strength of finger, he never forces.—London Daily Telegraph. (Advertisement.)
73Leginska's Historical Program and Bookings.
75Ethel Leginska, the distinguished pianist, will give a somewhat unusual program at Aeolian Hall, New York, Thursday afternoon, December 11, 1913. Among the numbers on the program will be one by Bach (1685), and pieces by different composers up to Debussy, showing the progress in piano compositions. Music lovers who did not hear this artist at her debut in January will now have the opportunity.
77Some of the dates booked for Miss Leginska are as follows: Concert for the Russian Jews, November 2; recital at the Parish House, Glens Falls, November 11; with the German Club, Cleveland, November 23; private recital in Toronto, November 26; at the Tuesday Salon, New York, December 2; with the Syracuse Arts Club, December 4; recital at Aeolian Hall, New York, December 11; charity concert at the Plaza Hotel, New York, December 15; concert at Massey Hall, Toronto, January 6; recital, Boston, for the Harvard Musical Association, January 16; recital at Abbott Academy, Andover, Mass., January 17; concert with the German Liederkrantz, New York City, February 7, and an appearance with the Rubinstein Club, New York City. one of two readings
78Some of the dates booked for Miss Leginska are as follows: Concert for the Russian Jews, November 2; recital at the Parish House, Glens Falls, November 11; with the German Club, Cleveland, November 23; private recital in Toronto, November 26; at the Tuesday Salon, New York, December 2; with the Syracuse Arts Club, December 4; recital at Aeolian Hall, New York, December 11; charity concert at the Plaza Hotel, New York, December 15; concert at Massey Hall, Toronto, January 6; recital, Boston, for the Harvard Musical Association, January 16; recital at Abbott Academy, Andover, Mass., January 17; concert with the German Liederkranz, New York City, February 7, and an appearance with the Rubinstein Club, New York City. one of two readings
80Success of New Cremona Violins.
82Edith von Voigtländer, the eminent violinist, has been playing a new Cremona violin, made under the supervision of Dr. Bielenberg, the present head of the new Cremona Company, for some time past on her European tour, and the instrument has given her great satisfaction in every respect. At her recent appearance in the large Tonkünstlerhalle in Zurich the tones of the violin penetrated to every part of the large auditorium. Also in the large hall of the Philharmonie, which seats 2,500 people, where she played in company with Sauer and Jadlowker, the instrument displayed all the qualities of the old Italian master violins.
84These Are Some of the Records WHICH CLARA KENNERLEY BUTT AND RUMFORD Have Been Making in Australia
86Sydney—11 concerts, averaging $5,200 receipts each. Melbourne—13 concerts, averaging $5,020 each. Perth—7 concerts, averaging $5,004 each. Fourteen towns of less than 25,000 inhabitants—19 concerts, averaging $5,104 each. Seven towns over 25,000 inhabitants—14 concerts averaging $5,112 each.
88THE FAMOUS ENGLISH SINGERS RETURN TO AMERICA EARLY IN JANUARY, BEGINNING THEIR SECOND TOUR ON THE PACIFIC COAST AND VISITING CANADIAN AND NORTHERN POINTS BEFORE STARTING FOR THE EAST.
90Their sensational success last season leaves no doubt as to the welcome awaiting them. For terms for such dates as are still available, write
92Loudon Charlton, Carnegie Hall, New York
93MASON & HAMLIN PIANO USED EXCLUSIVELY
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