Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 52
Scan 52
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
60 lines. Read by computer on 26 September 2026. Printed page 53. See the scan on archive.org.
1PAVLOVA AND RUSSIAN DANCERS IN LOUISVILLE.
3Ballet Entertainment Pleases Large Audience—Monday Musical Club Recital—Concert by Liederkranz Society.
5425 Fourth Avenue,
6Louisville, Ky., December 4, 1913.
8The London Classical Orchestra, Theodore Stier, director, with Anna Pavlova and the Russian Ballet, scored their third great success at the Masonic Theater on the night of December 3. Mme. Pavlova and her assistants, L. Novikoff, Mlle. Gashewska, Mlle. Plaskowiczke, P. Zalich and E. Cecchetti, entertained an enthusiastic audience for several hours with pantomimic and characteristic dances. To call the musical background an accompaniment hardly places it upon a sufficiently important footing, for those who went as much to hear the orchestra as to witness the dancing testified by their applause of Director Stier and his men their appreciation of the character of the performance. Especially beautiful was the "Moment Musicale" of Schubert, to which a charming Greek dance was set. Ona B. Talbot was the local manager for the Pavlova engagement, being, as usual, identified with one of the best affairs that has visited Louisville this season.
10The Monday Musical Club gave a pleasant recital at the Woman's Club on the night of November 25, presenting Esther May Plumb and Silvio Scionti. An audience of goodly size attended, and the program was greatly enjoyed. Mr. Scionti played Schumann's "Kinderscenen," Chopin's ballade in G minor, and numbers by Brahms, Dohnanyi and Liszt, while Miss Plumb was heard in selections by Schumann, Saint-Saëns, Moussorgsky, Meyerbeer, Strauss, Arditi, Clutsam, Cunningham, Lie and Del Riego. The accompaniments were exquisitely played by Mrs. Newton Crawford.
12On Tuesday night the Liederkranz Society, under the direction of Anthony Molengraft, gave an ambitious and interesting concert. The works performed were Mendelssohn's "Walpurgis Night" and Niels Gade's "Erlking's Daughter," besides several smaller numbers, and these were given in a most creditable style. The soloists were Anna Greene, Mrs. William Scholtz, Fred G. Neutzel, with Mrs. Molengraft as accompanist. Mrs. Scholtz sang, beside the concerted numbers, Van der Stucken's "Seligkeit" with great force and expression. The concert was enjoyed by an audience which filled the Liederkranz Hall to the doors.
14The music department of the Woman's Club presented the Marchesa San Germano and Jules Falk in joint recital at the Clubhouse on December 2. The program, covering a wide range of classic and modern compositions, was heard by an audience which manifested its enjoyment by frequent applause. Caroline Barbour is the chairman of this department for the present year, and has furnished a number of pleasing entertainments. K. W. D.
16Ware-Krumbhaar Nuptials.
18The marriage of Harriet Ware, the American composer, and Hugh Montgomery Krumbhaar was solemnized at noon, Monday, December 8, in Belmont Chapel of the Cathedral of St. John the Divine, New York City. The Rev. Robert Ellis Jones, canon of the Cathedral, officiated. The bride, who wore a gown of white satin and a veil of tulle, was given away by Manuel Rionda, an old friend of the Ware family. Before the ceremony, Miles Farrow gave a recital of wedding music, and David Bispham sang Miss Ware's setting of Elizabeth Barrett Browning's poem, "How Do I Love Thee." A large number of persons distinguished in literary and musical circles, and society, witnessed the nuptials.
20The wedding breakfast, for the immediate family, was given by Mr. and Mrs. Frederick Hoffman, 620 Fifth avenue.
22Get Rid of the Ticket Scalpers.
24Theater ticket scalpers are a public nuisance, and until the theater managers themselves cooperate with the police in the enforcement of the law, their practices will continue to be a wrong and an annoyance. This is a trade which could not exist without the assistance of the theaters themselves. The fact that an Thanksgiving Day one scalper was arrested having in his possession nearly 400 seats indicates that there is lacking somewhere an effective desire to put an end to a practice which is unfair to the public and an unwarranted extortion at the expense of playgoers.
26Lawmakers have hitherto been unwilling to make any drastic regulations interfering with the reasonable liberty of theater managers in the disposal of their wares. Places of public amusement have been decided by the courts to be not "public" in the sense that the playgoers have any right of precedence at the box office in the purchase of seats, no matter how early they apply nor how long they may have had to wait. But the time will surely come when this immunity from legal control will cease, unless the theaters themselves recognize the justice of the principle of one price to all for the same accommodations, and an equal opportunity for all comers in the choice of seats. —Philadelphia Ledger.
28Piano Recital by Egon Putz.
30Last Thursday evening, December 4, at Aeolian Hall, New York, Egon Putz, the German composer-pianist, played an interesting Chopin program. Although Mr. Putz has been in America a very short time, he has already established himself as a sincere musician, and the audience assembled at this recital gave every evidence that it appreciated this fact by its enthusiastic approval of his exceptional playing. Great care had been exercised in the selection of these Chopin numbers, a precaution which cannot be given too much attention when any one composer is chosen to represent the whole program. In speaking of Mr. Putz as a pianist only the most favorable things can be said. At times one is quite unaware of the presence of the instrument, but listens more to the artist or, rather, his interpretations. He is a musician who makes use of the instrument merely to impart and give scope to his natural gifts.
32HAROLD BAUER APPEARS IN NEW YORK AND BROOKLYN.
34Noted Pianist Is Soloist with New York Symphony Orchestra in Two Boroughs.
36Harold Bauer was the soloist with the New York Symphony Orchestra last Sunday afternoon, and it is needless to say that his playing was as brilliant as it always is, and that his success with the public was instantaneous. Mr. Bauer long ago became a popular favorite and has remained so, raising the public taste to the height of the classical compositions which he plays with such exquisite finish.
38At this concert a new symphonic suite by Debussy, entitled "Le Printemps," was played and called forth numerous conflicting criticisms from both the public and the critics. Unless memory deceives the present writer, this suite was given for the first time in Paris last April, and was, at that time, announced as a rearrangement of one of Debussy's early works. However that may be, it is certainly very much less modern than what we have become accustomed to from Debussy's pen in recent years.
40The program of the afternoon was culled from the two extremes, Bach and Debussy. Mr. Bauer's treatment of the Bach music was a revelation of perfect tonal mastery and comprehension of the meaning of this music and of the intentions of the composer. Debussy's popular "L'Apres-midi d'un Faune" was also played and was received with evidence of much pleasure by the audience.
42Long before three o'clock on Saturday last, December 6, at the Brooklyn Academy of Music, a large throng of musical enthusiasts began to assemble in the opera house to hear Harold Bauer, who was the soloist at the third Young People's Concert given by the New York Symphony Orchestra.
44Everyone was anxious to hear Mr. Bauer, the distinguished pianist who has gained so enviable a reputation. Nodding his appreciation of the loud applause which greeted his entrance, he seated himself at the piano and began Saint-Saëns' lengthy but interesting concerto in C minor for piano and orchestra.
46This well known work of one of the greatest of modern composers he played in masterly style, his interpretation being particularly demonstrative of his wonderful imagination and creativeness. Those who have heard Bauer before are familiar with his warm and sympathetic playing as well as his impeccable technic.
48It was a great disappointment to every one that Mr. Bauer limited his playing to this one Saint-Saëns number alone. All were anxious to hear more and so expressed their desire in enthusiastic applause. Although recalled again and again he refused to return to the piano.
50The concert closed with a discussion of the bassoon, which was followed by several orchestral numbers.
52FLORENCE HINKLE,
53Soloist in New York Premiere of "Ruth."
55PUTNAM GRISWOLD,
56Soloist in New York Premiere of "Ruth."
58MILDRED POTTER,
59Soloist in New York Premiere of "Ruth."
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