Books › Musical Courier 1913-11-12: Vol 67 Iss 20, 1913 › scan 44
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Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
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1FREDERICK PRESTON SEARCH'S SUCCESSFUL WESTERN TOUR.
3Young American Cellist Rapidly Acquires a Foremost Position Among Virtuosi.
5Quite unheralded, Frederick Preston Search, the American violoncellist, came home from Europe last year to give a few recitals in his native country. But Mr. Search, who has been appearing in the West, has been greeted by such unbounded enthusiasm and demands for return engagements—in a short time he had appeared in more than sixty cities—that he has been obliged to extend his tour.
7Concert engagements await the cellist in Europe, for Mr. Search did not expect to remain in this country this year, but calls and recalls have demanded his giving at least one hundred recitals before returning to fulfill those European engagements.
9This young cellist—twenty-three years of age to be specific—was recently a member of the famous Gewandhaus Orchestra in Leipsic, under that eminent director, Arthur Nikisch.
11During the past five years he has been a pupil of Julius Klengel, at the Royal Conservatory at Leipsic. Marked originality and unusual command of his instrument have won fame for Mr. Search in European musical centers.
13Compositions, too, of Mr. Search have won their due share of favorable criticism.
15Mme. Schumann-Heink and Frederick Preston Search have many interesting anecdotes to relate. Not long ago during the latter part of October, the great contralto, her party and Frederick Preston Search, with his accompanist, were together in the same Pullman car en route from Boise, Idaho, to points in Oregon. Of course, the artists inquired with interest into the recent concerts which each had given and many were the amusing anecdotes which they told of their travels during the last few weeks.
17Mr. Search always creates great excitement when he enters a small place with his beloved cello "Eloise" under his arm, and many are the interesting remarks which he often overhears. At one place in Idaho, huge placards had been placed around the town by the local concert manager, announcing the concert and at the bottom of the poster appeared: "Have you ever seen a cello? Then you cannot afford to miss hearing one." When Mr. Search saw this he seriously contemplated placing his cello on exhibition in a window of one of the stores down the street.
19It always happens that in the hotels the travelers, bell-boys and clerks are very desirous to know: "What show are you with?" or "What circuit are you on?" Mme. Schumann-Heink told of how the evening before while in the dining room at the hotel in Boise, one of the waitresses came up to her and inquired: "Say, what troupe do you belong to?" "What kind of a show are you in, anyhow?" "How do you make it pay?" "Ain't you goin' to give no matinee?"
21Sometimes in their wild rush across the continent to fill engagements the artists have difficulty in making good train connections. At one big jump in North Dakota last season, Mr. Search was horrified to find that the train, which should bring him into Valley City in time for the concert that evening was about nine hours late. There was no time to be lost in finding another way to reach that destination. He hired a powerful touring car and with his accompanist, Walter Chapman, and a chauffeur, they made a wild rush of thirty-five miles across the country in order to catch a fast express on the other railroad, the Northern Pacific. But a small breakdown delayed them for a short time and they came into the station only a few minutes after the express had left. However, a mixed train, which proved to be a freight with one passenger coach annexed, arrived about one hour later and the cellist and his accompanist got aboard with somewhat dejected spirits but nevertheless happy hearts, knowing that unless there was a breakdown or wreck there was nevertheless a very fair chance for them to reach their destination after all. The only serious drawback about this remarkable freight which they now were on was that they had to "don their evening gowns" on the rear platform of the coach, and the November evening was anything but warm.
23Nevertheless they arrived in Valley City at 8:15 o'clock, and positively were serenely seated upon the stage and smiling most graciously as they commenced their first number at 8:30, the concert having been delayed only fifteen minutes. Such are sometimes the trials and tribulations of the concert artists en route.
25Efforts are being made to secure Mr. Search for a recital appearance in one of New York's concert halls, and arrangements are pending to that effect; but, if the artist's time does not permit this season, such New York appearance may confidently be expected in the following winter.
27Some American press tributes follow:
29Frederick Preston Search, whom some critics have called the best young cellist in the world, was greeted by a large audience when he appeared last evening under the auspices of the State University; and the ovation that was given him when one beautiful number followed another must have assured him that Grand Forks people are very fond of the best there is in music, and will welcome him even more warmly should he ever appear here again.—Grand Forks (N. Dak.) Evening Times.
31Frederick Preston Search delighted an appreciative audience at the State Normal Auditorium in the opening number of the Annual Artists' Course last evening. Mr. Search is an artist of unusual ability, fine technic and pleasing personality. His tones were deep, wonderfully rich and fine; and his entertainment of last evening showed the artist to be all that the Germans regard him in approaching the ranks of the foremost cellists.—Valley City (N. Dak.) Times-Record.
33The sweet tones of his cello thrilled everyone.—Aberdeen (S. Dak.) Daily News.
35Every seat in the large auditorium was occupied when the first number was announced, and all were entertained as never before with a string instrument.—Delta (Colo.) Independent.
37His concert was an inspiration from the opening number until the last note of music had been uttered by the lutelike strings of his instrument.—Grand Junction (Colo.) Daily News.
39His beautiful rendering of the passionate music of Grieg (sonata in A minor) is a thing long to be remembered.—Billings (Mont.) Evening Journal.
41An exceptional artist and plays with brilliancy and mellow sweetness.—Bellingham (Wash.) American-Reveille.
43The purity of his tone work and the sympathetic rendition of his numbers were revelations.—Portland Oregonian.
45Music lovers who failed to attend the Frederick Preston Search violoncello recital surely missed one of the greatest treats that this vicinity has ever been permitted to enjoy.—Monterey (Cal.) Daily Cypress.
47. . . The romance in C major, romance in F major and the serenade, "An Evening in Tangiers," composed by the artist and as played by him last evening, reveal a music soul that will place him at the head of the world's greatest cellists and composers within a short time. . . . It must be remembered that this wonderful young player is only twenty-three years old, and the enthusiastic audience of last evening can readily figure out what a brilliant future this young genius has before him.—Reno (Nev.) Evening Journal.
49It is hard to speak extravagantly of his splendid technic and his intelligence in interpretation, which enable him to hold his audience unwavering in attention.—Pocatello (Idaho) Chronicle.
51In arrangement, technic and interpretation the program was unsurpassingly fine.—Salt Lake Herald-Republican.
53At the close of his program he was compelled to respond to two encores, making five in all and then so insistent was the applause that he presented a Bach number without accompaniment.—Los Angeles Daily Times.
55Astounded his listeners. . . . The work of this artist, in all climaxes, produces in the minds of his audience a feeling of great reserve power.—Riverside (Cal.) Daily News.
57The name of Frederick Preston Search has been added to the list of illustrious artists and musicians who have won their way to the hearts of Grand Junction people. . . . Search is undoubtedly the greatest master of the violoncello ever heard in this part of the country, and is well on his way to claim the title of "greatest in the world."—Grand Junction (Colo.) Daily Sentinel. (Advertisement.)
59A Dramatic Reading of "The Blue Bird."
61On Friday afternoon, November 7, at the Little Theater, New York, a dramatic reading of Maurice Maeterlinck's symbolical fairy play, "The Blue Bird," was given by Laura May Haughwout under the management of Antonia Sawyer. An audience of good dimensions was present and it showed a marked interest and applauded liberally the youthful reader.
63In a quiet manner, without unnecessary motions or mannerisms, the story of the quest for happiness by the two woodcutter's children was presented. The characters were depicted in a clear, intelligent manner, and it is no small task for a dramatic reader to handle at one time a large number of parts such as appear in "The Blue Bird." Laura May Haughwout showed skill in treating the most difficult scenes. Her voice has an appealing quality and her enunciation is at all times distinct. There was no opportunity for great dramatic flights, but the reader seemed eminently fitted for the task of presenting such characters as "The Blue Bird" contains. She was particularly successful in bring out the symbolical significance of each individual personage.
65The program was as follows:
67At the Woodcutter's Cottage.
68The Fairy's Visit—The Magic Diamond.
69At the Fairy's Palace.
70The Cat Leads a Conspiracy—Quest for the Blue Bird Begins.
71The Quest.
72The Land of Memory—Palace of Night—The Forest—The Graveyard—The Kingdom of the Future.
73The Return.
74Leavetaking—Awakening—The Blue Bird Escapes.
76One of the things that makes for success on the dramatic stage is personal attractiveness. In this respect Laura May Haughwout has been generously endowed. It is always a pleasure to see personal beauty, and when talent and a serious purpose are added, the result is extremely satisfying. Thus it is not to be wondered at that her audience was delighted with her charming delineation of the people in this mysterious fairy play. The human and the superhuman are mingled together, but to each the reader gave a fitting interpretation. Particularly enjoyable was her portrayal of the two children of the woodcutter in their various moods and situations. The pathetic and the humorous side of life were both accorded the same careful, intelligent reading.
78HELENE KOELLING
79Prima Donna Soprano Montreal Grand Opera Company
80RECITAL, AEOLIAN HALL, NEW YORK
81:: Wednesday Afternoon, November 12th ::
82Management: ANTONIA SAWYER
831425 Broadway :: :: :: New York City
85OBERLIN SPRING FESTIVAL WILL BE AN UNUSUALLY BRILLIANT EVENT.
86The Musical Union Makes Important Announcement—Noted Soloist to Appear.
88Oberlin, Ohio, November 8, 1913.
90The Oberlin Musical Union announces an unusually interesting program for the current academic year. December 18 the union will continue an Oberlin tradition by singing "The Messiah" with full organ and piano accompaniment, assisted by well known soloists to be announced later. The annual spring festival will take place on May 11 and 12, and includes two choral works and a symphony program. The works selected for study this year are Max Bruch's "Odysseus" and Gabriel Pierné's musical legend, "The Children's Crusade," providing an interesting contrast as programs for the consecutive evenings. The Chicago Symphony Orchestra, Frederick Stock conductor, will assist the Musical Union during the festival, and, as in previous years, will give a symphony program on the afternoon of May 12 in Finney Memorial Chapel. The officers of the union announce the following well known soloists as a partial list of those who are to assist the union during the programs: Inez Barbour, soprano, of New York City; Margaret Keyes, contralto, also of New York; Lambert Murphy, tenor of the Metropolitan Opera Company; Henri Scott, basso of the Chicago Grand Opera Company.
92The success of these annual festivals is due to the Oberlin Musical Union's director, Dr. George Whitfield Andrews, Oberlin's leading musician, master of the organ and accomplished conductor of orchestra and choruses. Dr. Andrews reads his scores with final authority and a rare power to inspire his singers with his own enthusiasm.
94The chorus this year is particularly fortunate in its membership. A combination of especially trained singers from the faculty of the college and the students, a majority of whom are studying voice culture, secures steadiness in execution together with freshness of tone quality and enthusiasm.
96During the fifty-three years of its existence the Oberlin Musical Union has given the people of Ohio the chance to hear practically all of the masterpieces of choral composition, including Verdi's "Requiem," Beethoven's "Messe Solenelle" in D, Handel's "Messiah," Bach's "Christmas Oratorio," Bruch's "Odysseus," Franck's "Beatiudes," Elgar's "Dream of Gerontius" and "Caractacus," Schumann's "Ruth" and Saint-Saëns' "Samson and Delilah."
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