Scan 6
Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
58 lines. Read by computer on 26 September 2026. Printed page 7. See the scan on archive.org.
1she has under perfect control, it having been admirably trained by her distinguished husband, and her interpretations are noteworthy for both intelligence and feeling. Her tour will unquestionably be an emphatic success.
3Toselli's operetta, "The Bizarre Princess," had a fiasco at the premiere at the Teatro Nazionale, in Rome. The text was written, it is reported, by the ex-Crown Princess of Saxony, and depicts her experiences at the Dresden Court as she wishes the world to think that they occurred.
5ARTHUR M. ABELL.
7PRESS PRAISES FLORENCE AUSTIN.
9What New York Critics Say of Violinist's Recital at Aeolian Hall October 23.
11Unanimous praise from press and public were bestowed upon Florence Austin, following her Aeolian Hall recital of October 23. She is a tireless worker, and the encomiums are fully deserved:
13Miss Austin's playing in the Ries suite disclosed natural talent and technical ability. The quality of tone produced was rich and full. Her intonation was faultless and her playing in the suite lovely, showing grace and tender feeling. In the Wieniawski music her splendid assurance and a knowledge of much that is best in the principles of violin playing stood her in good stead in her performance and pleased her numerous hearers.—New York Sun.
15Miss Austin proved that she is a player of intelligence and the possessor of considerable technical facility. Her tone was clear, and in the Wieniawski concerto in D minor she took advantage of the opportunity given her for the feats of the virtuoso and emerged with credit.—New York Tribune.
17Miss Austin has facility, an excellent musical understanding, an ingratiating manner, and the most captivating treatment of delicate passages.—New York Evening Mail.
19Three violin artists in the last week have given recitals in Aeolian Hall, and the last of the three, Florence Austin, was the best. At once, with the suite in G minor of Ries, she played herself into the hearts of her listeners and with the Wieniawski concerto in D minor she made the success of the concert. Vitali's chaconne was played so well that the young artist was obliged to given an encore.—New York Staats-Zeitung.
21Miss Austin's recital yesterday was creditable; her tone is good, her technic adequate, and she is well schooled.—New York Herald.
23Her poise, her well sustained work in the first movement of the Ries number and her dignity were all points to which her audience gave her warm recognition. The violinist is well schooled, plays with directness and quiet poise, and is devoid of mannerism. Her tone is excellent.—Brooklyn Eagle.
25Miss Austin has already won her spurs in the West, and very recently was the soloist with the Montreal Symphony. Her work shows very honest endeavor; the Wieniawski concerto was excellently played; likewise the chaconne by Vitali, a Ries suite.—Brooklyn Standard Union. (Advertisement.)
27Pini-Corsi Enthuses Grand Rapids Audience.
29Grand Rapids, Mich., October 24, 1913.
31Antonio Pini-Corsi and his company in "Il Maestro di Cappella," an operetta by Ferdinando Paer, was the first attraction this season in the Mary Free Bed Guild course. Due to the success of the course last year, a large and expectant audience was in attendance and demonstrated its pleasure. Signor Pini-Corsi's dramatic and musical ability was especially appreciated. In the concert following the sketch, Louise Cox, a young opera singer, gave the "Prayer" from Puccini's "Tosca" for her first number. Her sweet, lyric soprano was especially effective in the songs for high range, and the excellent quality of tone was evident throughout each of her numbers.
33Attilio di Crescenzo was given an ovation after singing "La Donna Mobile" from Rigoletto, to which his clear high tenor is particularly adapted.
35Encores were very much in demand from each of the foregoing and generously given.
37To the inspiring and artistic work of the conductor and pianist, Oscar Spirese, was due much of the success of the program.
39A. C. T.
41Edwin Hughes' Munich Recital.
43Edwin Hughes, the excellent American pianist and teacher, who makes his home in Munich, opened his season there on October 19 with a recital which included the "Appassionata," the Schumann symphonic studies, numbers by Chopin, Debussy and Leschetizky, and his own paraphrase of Johann Strauss' "Wiener Blut" waltz. Mr. Hughes played with his usual splendid technical and musical command and was the recipient of hearty applause, his own paraphrase of the Strauss waltz seeming especially to enthruse the audience, among whom were numbered Mr. and Mrs. Ossip Gabrilowitsch, Mrs. H. H. A. Beach, Marcella Craft and Mme. Charles Cahier.
45Edmund Clément to Appear in Recital.
47Edmund Clément, the French tenor, will give a song recital in Aeolian Hall, Tuesday afternoon, December 2.
49FLONZALEYS PERFORM SCHÖNBERG IN LEIPSIC.
51Vienna Composer's New Quartet Lasts Fifty-one Minutes—Is Analyzed in Detail by Musical Courier Hearer—Many Royal Visitors at Leipsic Celebration—Music Is Part of the Festivities.
53Leipsic, October 18, 1913.
55The Flonzaley Quartet has lent great service by producing for the first Leipsic hearing Arnold Schönberg's string quartet, op. 7. The same composer's early string sextet, op. 4, called "Verklärte Nacht," was given here two years ago and found to play for thirty minutes in music of greatest coherency and very unusual beauty. The present work plays for fifty-one minutes without pause, and is likewise extraordinarily beautiful and individual music, if also suffering the public disadvantage which every long work undergoes at a first hearing. In all the discussion for and against and about Schönberg, there will be this much permanently valid—that he is a composer of very unusual musical gift and great accomplishment. Whether or not he has now gone to posing for notoriety or is becoming spoiled by the attention which his extraordinary work calls out is a matter to be decided by those who know. He has never been in Leipsic at the production of his works, though he is announced to conduct here early in the new year, when his "Gurre Lieder" will be given. As to the string quartet, the Flonzaleys will give American musicians a chance to hear it in such cities as the supposed public taste will warrant. For the present, Boston, New York, Chicago and some Ohio city are the only places considered probable.
57In reporting on the Schönberg quartet, one is reminded of the natural difficulties attending the verbal description of any musical work. Nevertheless, one gladly submits a list of impressions taken down in the fifty-one minutes occupied by the Leipsic giving. Whatever the value of the notes, they are much more definite than a report written after casual and careless hearing. They are as follows: Military manner in stately leisure sounds like attempt at real music. Beautiful music in good procedure of weaving and work for all the voices. A brief break up and immediate return to the military. Soon interesting cross rhythmic figure by cello, one phrase. Seems new material in slow tempo, about as lament in lovely color, feeling and dignity. The man is really musical whatever else one may say. Work gets quicker and goes canonically for some time—then breaks off to reflection, very slowly. It is all beautiful, seems perfectly sane, wholesome, in great individuality. Outburst in lovely impulse. Again into lament, in big manner, high on strings. Fugue or other canonic? This seems to come to treatment about as variation, easily definable. What mean the tremolo, strange shivers and now unique harmonic fabric? Soon other change, ever new work, all of much interest in great originality. We lose sight of any long line; it must be variations, in short bits of each. But a big fugal syncopation is again somewhat predominating. Ever new work, interesting, some second fiddle under solo first and accompaniment. Now a waltz of fine grace and musical quality. Leaves off and resumes for long time in the fugal manner. After eighteen minutes some new sketching by way of carrying over to other fine sustained music in great originality. Comes to strange incident in fiddles, harmonics over song phrase on cello. Back to canonic syncopation in big dignity and good deal of bustle. At twenty-five minutes they start building very largely in the first military material, slightly brighter tempo, festival manner and in much beauty. The Flonzaleys play wonderfully, or the work would fall to farce; for instance, if the canonic imitating were awkwardly or unmusically done. After twenty-eight minutes, the first violin and viola tune up, while cello roulades. The other rests. Then violin alone, reflecting, as if letting down the mood for a close. Fine material, truly. They build again in this, but
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