Scan 6
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
61 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1LEIPSIC GEWANDHAUS CONDUCTED BY LOHSE.
3Arthur Nikisch Absent in Russia, but Will Return to Leipsic to Lead Sixth Gewandhaus Concert—Many Paragraphs of Interest.
5Leipsic, November 15, 1913.
7In the absence of Arthur Nikisch, who was in Russia, the fifth Gewandhaus concert was led by Otto Lohse, first conductor at the Leipsic Opera. With Pablo Casals as soloist, the program had the Schubert B flat symphony, No. 5; the Haydn cello concerto, the Mozart "Freemasons' Funeral Music," the Bach sixth suite for cello alone, and the overture to Weber's "Euryanthe." This Schubert symphony is full of the spirit of Mozart and Haydn, and as Lohse led the work in sharp accent and the true finish and spirit of the old time, the effect was that of a cabinet-piece, however, rich and well grown. But Lohse is easily capable of thrilling with the larger works, hence the vain wish that he had given a work in the imposing manner. Besides the musical delicacy shown in the Schubert and Mozart works, Lohse held the entire slow section of the overture down to the smallest pianissimo that the musical seismographs could record, so that the reading was in so far unique. On November 27, Nikisch resumes his post and gives the Draeseke tragic symphony, to which composition he has been steadfastly devoted for a couple of decades. On account of a church day, there is no Gewandhaus concert for November 19 and 20, but the Riedel Verein, under Göhler, gives these two evenings to the Mahler eighth symphony (Albert Halle), and the Bach Verein, under Straube (Thomas Kirche), gives the B minor mass.
9The second Philharmonic program, under Winderstein, had tenor Paul Schmedes and concertmaster Heinrich Schachtebeck as soloists. There were the Brahms second symphony, Beethoven's "Adelaide" with piano, and the two violin romanzas with orchestra, Max Schillings' four "Glockenlieder" with orchestra and the second Bizet suite "Arlesienne." Winderstein gave careful rendition of the symphony and Schmedes showed only passable art in his various selections. The Schillings songs are in most conventional modern operatic content, braced by all usual paraphernalia for characterization and remaining very unimportant music. Schachtebeck played the romanzas in beautiful tone and much sincerity.
11Ignaz Friedmann's two Chopin recitals at an interval of nine days drew real money to the Kaufhaus. The voluminous material represented both sonatas, the fantasia, the fantasia impromptu, the A flat impromptu, the dozen etudes of op. 25, eight preludes, a barcarolle, three mazurkas and two each of the nocturnes, waltzes, scherzos, ballades and polonaises. The great enthusiasm at each recital augmented the list by eight or ten selections. It has taken five or six seasons of Leipsic recitals to arrive at the present result.
13Friedmann's talented pupil, Ignaz Tiegermann, played for the second season in Leipsic, the last recital including the Bach-Busoni chaccone, Schumann F sharp minor sonata and ten selections by Chopin, Liszt and Gluck, Dandrieu and Rameau, the last three composers according to Friedmann's editing. A musical nature and good pianistic means are already observable in Tiegermann's playing.
15Franz von Vecsey played the Bach E major concerto, Corelli's "La Folia," three parts of the Lalo "Spanish" symphony, the Bach air, a humoresque and a caprice of his own, also the Paganini A minor caprice. Through his strong mentality, Von Vecsey some years ago aroused impressions of the austere and statuesque in giving the Bach chaccone, and on this occasion he again finds utmost character and nobility in Bach, particularly in adagio. In all his other playing there are extreme fancy and musical character with tremendous verve and joyous musical abandon, so that in combination with his stupendous technic of bow and left hand, he remains one of the very amazing and very elect among contemporary heroes of the concert platform. His humoresque and especially his caprice are of bright musical content, the caprice abounding in greatest difficulties for bow and hand. He was obliged to repeat the caprice and otherwise added many numbers to the original program.
17The youthful Hungarian violinist, Magda Weil, had the assistance of her pianist cousin, Sandor Vas, in her recital here and in other cities. She played the Goldmark concerto, three movements of a Bach suite, a Wagner romanza, the Saint-Saëns "Rondo Capriccioso" and Paganini "I Palpiti." Mr. Vas played Franz Brzezinski's four part Polish suite. The young violinist's playing of the Goldmark brought all the grace and beauty of tracery in the writing for the solo instrument, and her rendition would have converted all those thoughtless persons who had hitherto found no value in the concerto. Brzezinski's Polish suite for piano is entirely of beautiful music, though the introduction and polonaise (fugue) and scherzo (oberek) have relatively higher value on account of their strong yet agreeable national character. Vas plays in fine pianistic means and finest musical quality and his touch is splendidly adapted to ensemble play. Miss Weil has played repeatedly in Vienna and recently participated in a recital of compositions by the very talented Joseph Marx. Besides an A minor violin sonata and piano trio fantasia, there was an A major piano quartet ballade, said to be a work of great beauty. The pianist was composer Marx, further assisted by violist Zimbler and the gifted cellist, Hugo Kreisler, brother to Fritz Kreisler.
19A most interesting recital of twenty songs in Italian, French and Russian was given in Leipsic by soprano Nathalie Akterzy, of St. Petersburg. The intended five German songs were surrendered to five of the best by Tchaikowsky, in memory of the twentieth anniversary of the composer's death. Besides the Tchaikowsky "Nacht," "Meine Seele entflüht," "Versöhnung," "Wiegenglied" and "Ob heller Tag," there were songs by Scarlatti, Falconieri, Handel, Tenaglia, Vivaldi, Debussy, Chausson, Moret, and a concluding Russian group, Moussorgsky, Glazounow, Rachmaninoff, Borodin and Wassilenko. The artist possesses a voice of agreeable quality in sufficient flexibility for all her needs, and her singing, both as to vocalism and thoughtful, expressive delivery of the texts, showed culture in every detail. The Leipziger Tageblatt, by its Mr. Schlegel, all unmindful of these traits and the general international value of all good art, scolded because the visitor had finally sung no German, and he thus neglected to ascribe any item of artistic worth to the recital.
21The Russian cellist, Anton Pokrovsky, gave his own recital to include the Lalo D major concerto, the caprice chaccone by the artist's former teacher, Julius Klengel, further including Pokrovsky's own romanza, menuet, prelude, dance grotesque and sonata in G major. The playing was very orderly, in agreeable tone and reliable technic without yet having come to great maturity. The Pokrovsky compositions could not be heard for this report. The city papers were not willing to find much good in them.
23Soprano Dora Heims gave four songs by Schubert, three by Schumann, four by Brahms and seven by Conrad Rambath. She showed an earnest musical nature and agreeable voice, though her delivery soon showed lack of relief.
25Baritone Erich Augspach sang Beethoven's "Adelaide," two songs by Schubert, four by Strauss and five by Hugo Wolf. The singer has a potent and beautiful voice, under fine training. He sang musically in splendid legato, thus bringing down upon himself a charge of sentimentality from those press writers who would not recognize the better type of art when they heard it.
27The student program at Leipsic Conservatory, November 14, had the Bach G minor organ fantaisie and fugue. Nardini and Bossi selections for flute, the Bach E major "Praeludium" played by a dozen violinists, a Bassi "Rigolletto" fantaisie for clarinet, the Strauss piano and cello sonata, two parts of the Mozart G major flute concerto and two parts of the Mendelssohn G minor piano concerto with accompaniment of the student orchestra.
29EUGENE E. SIMPSON.
31Lambert Pupil Scores Success in Newark.
33Before a large audience representative of the musical life in Newark, N. J., Katherine Eyman, the talented young pianist and pupil of Alexander Lambert, was heard in that city on Tuesday evening, December 2, in her annual recital.
35Interesting as it was to listen to one so well known to music lovers in both Newark and the Oranges, it was a surprise to many to note the well directed power, ample technic and beauty of tonal color which this young artist displayed. Miss Eyman, who is unusually attractive in appearance, was warmly applauded and received many floral tributes.
37Aside from Moszkowski's "Etincelles," which she was obliged to repeat as an encore, probably the most interesting numbers on the program were Alexander Lambert's "Etude" and Grieg's "Concerto" (first movement). Mr. Lambert accompanied Miss Eyman in the latter number on a second piano. This was particularly well rendered and received hearty applause.
39The program follows:
41Prelude and fugue, E minor………………………..Mendelssohn one of two readings
42Prelude and fugue, E minor……………………………Mendelssohn one of two readings
43Sonata, G minor (first movement)…………………Schumann one of two readings
44Sonata, G minor (first movement)…………………….Schumann one of two readings
45Etude……………………………………………..Alex. Lambert one of two readings
46Etude…………………………………………………Alex. Lambert one of two readings
47Du bist die Ruh………………………………….Schubert-Liszt one of two readings
48Du bist die Ruh………………………………………Schubert-Liszt one of two readings
49Scherzo, B minor…………………………………Chopin one of two readings
50Scherzo, B minor…………………………………….Chopin one of two readings
51Etincelles…………………………………………..Moszkowski one of two readings
52Etincelles……………………………………………..Moszkowski one of two readings
53Arabesque…………………………………………..Leschetizky one of two readings
54Arabesque……………………………………………..Leschetizky one of two readings
55Frühlingsnacht…………………………………….Schumann-Liszt one of two readings
56Frühlingsnacht……………………………………….Schumann-Liszt one of two readings
57Allegro Appassionato……………………………..Saint-Saëns one of two readings
58Allegro Appassionato………………………………..Saint-Saëns one of two readings
59Concerto (first movement)………………………..Grieg one of two readings
60Concerto (first movement)…………………………..Grieg one of two readings
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