Books › Musical Courier 1928-12-20: Vol 97 Iss 25, 1928 › scan 40
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Musical Courier 1928-12-20: Vol 97 Iss 25, 1928
100 lines. Read by computer on 28 September 2026. Printed page 41. See the scan on archive.org.
1December 20, 1928
3SOME INTERESTING PAGANINI ITEMS FROM OTON SCHEDA
5The illustrated Paganini articles which appeared in the MUSICAL COURIER of November 8 and 15 were much enjoyed by Oton Scheda, renowned autodidact violin virtuoso, who toured the world for a number of years as "Paganini Redivivus," everywhere meeting with phenomenal success. The following facts concerning the "King of All Violinists" were submitted to the MUSICAL COURIER by Marion Knight, Scheda's manager, in the form of a letter, of which one part read:
7"It may interest others to know of some of the incidents that have a human appeal; little things that happened that were related to Mr. Scheda by people directly associated with Paganini. This may give the impression that Mr. Scheda is a centenarian; I hasten to assure you he is far from it. The facts were gathered by him when he was a mere youth from men advanced in years then."
9"Scheda's father, General Joseph Ritter von Scheda, was an intimate friend of Count Pallavicini, who was also a dear friend of Paganini; in fact, Pallavicini's palace at Nice was ever open to the violinist and when Paganini died, it was Count Pallavicini that bent every effort to have Paganini properly buried, and failing this, placed the body of his friend in his own palace at Nice. It was Pallavicini that saved Paganini's violin from falling into the hands of Tasso, then the most famous collector of old and rare violins. Scheda is especially grateful to the Count for the token given his mother, who was a great admirer of Paganini; it was a coat that the great violinist wore on occasions and which Scheda himself wore in his act 'Paganini Redivivus,' in which he toured the world. It is still in his possession. Scheda's mother heard Paganini many times and it was her keen observation and understanding of music that enabled her to describe in detail to her young son Paganini's peculiarities, his style, his appearance, his unique manner of stepping upon the stage, all his 'tricks' that he knew all too well would excite the populace. He was indeed a clever press agent. One incident is related where, at a banquet given in his honor the evening before his concert, he suddenly arose, table-knife in hand, and shouted—'I am sick of this life. I must end it all!' and made a gesture as though to plunge the knife into his breast. Immediately the guests were on their feet. The man next to him snatched the weapon from his grasp; next day, the house was sold out. Another incident that Scheda relates, which was told him personally by Vuillaume whom he knew well, was that, when Paganini brought his violin to this famous Parisian repairer to have some work done upon the instrument, Paganini stayed right there during the whole process and would utter little cries of anguish, as of actual pain, every time the knife or file or other instrument touched his violin. News of this sort he knew would go the rounds and he never missed an opportunity to turn every event to his benefit. The only pupil Paganini ever had was Camille Sivori who was born at one of his concerts. This unexpected event attracted wide attention and again Paganini utilized it. He told the mother that when the child grew up he, Paganini, would teach him, for he believed a child born of a mother who became so affected by his playing that it hastened the child's birth, must needs be a musical genius. He kept his word and Sivori followed so closely in his master's footsteps that folks remarked—"Like master like pupil."
11"People in those days said all manner of things about Paganini and many claimed he was possessed of evil spirits. Instead of endeavoring to correct these impressions, he intensified them. He would open wide those piercing black eyes of his then suddenly close them; the light shining on them gave them the appearance of darting fire. So fearful were the people who came in close contact with him that on one occasion, when he was practising with the orchestra, he passed his snuff box to the concert master, who, fearing it contained mysterious ingredients yet not wishing to insult this famous man, accepted a pinch, but instead of snuffing it, slyly dropped it to the floor, whereupon his men, noting this, asked their conductor the reason for his act; he replied—"You never can tell, there may be something terrible in that snuff for only yesterday I saw fire come out of his eyes."
13"Little is mentioned in the series about Bianchi, as she was popularly known. She was a famous singer of that day, indeed, quite as famous and popular as her lover, Paganini. Their mutual interest in music brought them together, and though they lived in defiance of the Church and conventions they were truly devoted to each other. She bore him one child, their son Achille, who proved a bitter disappointment, for all believed that a child born of two geniuses must inherit their qualities. Only one he inherited, that was his father's love of gambling. It is related how Bianchi would sing while her lover accompanied her on the guitar, for he was a virtuoso on this instrument as well as the violin, a fact little known today, although his guitar-quartet composition is a work of great magnitude, being so difficult that no four men have ever been known to play it as a quartet. It was composed while the two artists lived in their hide-away up in the Pyrenees those four years wherein the world lost trace of them. Perhaps this absence was another publicity stunt, perhaps not, but it served to pack the houses when he did again appear in concert.
15"Carl Guhr was another of Paganini's friends from whom Mr. Scheda obtained much first-hand information; had it not been for Guhr, many of Paganini's pieces would have been lost. Their friendship was a long and intimate one dating back to the time when Paganini played at Mainz, Guhr's home. Guhr was in the audience making notations of Paganini's playing. Paganini espied him and sent an attache of the theatre to him with the request that they meet after the performance. Guhr responded and so astonished and impressed Paganini with the accuracy of his notations that they then and there formed an intimate bond of friendship. What surprised Paganini the most was that Guhr had discovered immediately that Paganini's pitch was a half-tone higher than was used at that time. It may not be amiss to note here that the measurements of range between the bridge and the saddle were only twelve and a half inches in those days, which naturally brought the double-stops, octaves and tenths closer together. The pitch was lower, consequently the base-bar was shorter, requiring less resistance than those of today which are longer, having a higher pitch and a longer range, thus making stretches more difficult.
17"Undoubtedly the secret of Paganini's faultless technique lay in the manner in which he held his violin. He was ever fearful lest some other violinist of the day might learn it. He never played in private, claiming steadfastly that his playing was only for the populace. He gave this excuse to Spohr when that great composer traveled far to hear him, calling at Paganini's hotel expecting this privilege, which was point blank refused him. So vital was this position considered that Ernst, whose compositions have no equal for high virtuosity, followed him wherever he played, hoping to get a glimpse of it, until Paganini called him his shadow. It is safe to say that Mr. Scheda is the only one living today who knows how Paganini held his violin, thanks to Guhr, who, when he heard Scheda play, noted the position of the violin. He turned Scheda's hand—Presto! The magical thing was accomplished. Guhr remarked that as long as Scheda was 'Paganini Redivivus' he may as well make it a complete impersonation by using the same position Paganini had used. This position is scientifically explained by Scheda, showing why a player can accomplish such enormous technical difficulties with apparent ease. The present day methods overlook the one main feature, that of friction. Scheda, in his life-long self-instruction, has spent years at a stretch on various methods, has tried them all and found them wanting in some particular instance, and so has been compelled to return to his original position, the secret of Paganini's technical ability." M. K.
19OTON SCHEDA
21Rosamund Leweck in Boston Recital
23On December 9, at the Hotel Vendome, Boston, Rosamund Leweck, soprano, gave an artistic hour of music in recital form before an audience who thoroughly appreciated her artistic singing. Miss Leweck presented a program of Italian, French, German and English songs. In her singing a soprano voice of good quality, brilliant in color and of much warmth was an outstanding feature. Her interpretations showed careful study and preparation and her diction in the various languages was commendable. Mrs. Carolyn Loewenstein was the assisting artist and added to the successful concert by sympathetic piano accompaniments and several well-played solos.
25Praise for Hanna Brocks
27Hanna Brocks, who holds a master class each summer in Bedford, Pa., recently received a letter from two of her pupils, each of which speaks for her excellent teaching. Dorothy Bortz, of the Pennsylvania College for Women, says: "I am deeply interested in music and want to tell you that you are responsible, in a measure, for making me take the interest that I do. I can see through it ever so much better, but want to tell you frankly that you have taught me more and kept me more interested than anyone else during my musical career. I certainly hope that you can see your way clear to return to Bedford next summer."
29Margaret Eichelberger, of Everett, Pa., wrote to Mme. Brocks: "I can't begin to tell you how grateful I am for the interest you have taken in me and the help I have received from you this summer, and I am very happy over the fact that the Bedford people liked my voice, but you know the credit is due you."
31I See That
33Mildred Emerson, just been engaged as soprano soloist for the next five months at the Church of Apostle, will sing The Messiah three times at other churches during the holidays.
35Walter E. Koons has joined the Baldwin Piano Company as head of the artists' department.
37H. W. Draher is in America in the interests of the newly organized German Institute of Music for foreigners which is to hold master classes at Charlottenburg Castle, Berlin, next summer.
39Frederic Baer scored success in Pittsburgh.
41Elliott Schenck writes interestingly of Oriental music.
43Two hundred and fifty people attended the sixth annual banquet of the Fique Choral.
45Harriet S. Keator invited the entire executive committee of the National Association of Organists to a dinner.
47The Verdi Club Supper Dance attracted a large assembly, and President Jenkins received many compliments.
49Emma Otero, Cuban coloratura soprano, protegee of the President of Cuba, and of Gigli, made a successful debut at the Rubinstein Club concert.
51Jascha Fastofsky has just published a new book on violin and theory.
53Oton Scheda tells some interesting incidents regarding Paganini.
55Paris recently had the unusual experience of hearing two conductors, Respighi and Stravinsky, conduct their own works.
57Sensational reports of Maazel's success abroad continue to reach this country.
59Elly Ney recently played in the Royal Palace at Weimar, Germany.
61Heger's new symphonic work was well received at its first hearing in Darmstadt.
63Ethel Bartlett and Rae Robertson say that English audiences are more noisily demonstrative than American audiences.
65A new organization, the German Institute of Music for foreigners, of which Wilhelm Furtwangler is president, is to hold summer master classes at Charlottenburg Castle. Following her American engagements, La Argentina, celebrated Spanish dancer, will appear in the Orient.
67The new wing of the New England Conservatory building was formally dedicated on December 10.
69The Flonzaley Quartet, appearing in Boston on its farewell tour, played to a packed house.
71Mr. and Mrs. John L. Severance have donated the sum of one million dollars to build a permanent hall for the Cleveland Orchestra.
73Sir Thomas Beecham has been forced to cancel his American tour this year because of illness.
75Dusolina Giannini was given an extraordinary reception in Berlin.
77Two new German conductors who have recently come to the fore are Wilhelm Sieben and Paul Kletzki.
79Some interesting sidelights on Horowitz's new pianistic sensation, are given in this issue of the MUSICAL COURIER.
81The Bush Conservatory reports a rapidly increasing enrollment in its class piano division.
83A distinguished committee headed by Walter Damrosch, will welcome the Prague Chorus to America.
85Anne Roselle Sailing End of January
87Anne Roselle will sail the end of January to begin her European concert and operatic engagements. She will sing in opera in Dresden during April, at the San Carlo in Naples in February and March, and in Budapest and Vienna, also Servia. May 16 the dramatic soprano will give a concert in Berlin.
89Philadelphia Orchestra Features Haydn, Mozart and Brahms
91Gabrilowitsch Offers Delightful Fare of Classics—Schreker Suite and Rimsky-Korsakoff's Russian Easter Overture Superbly Performed
93PHILADELPHIA, PA.—For its weekly concerts on December 14 and 15 the Philadelphia Orchestra, with Ossip Gabrilowitsch conducting, offered a program soothing and gratifying to many in its audience who object to being made familiar with what present-day composers are attempting to do with modern music. The reason, of course, being that nine-tenths of an audience attend a symphony concert for relaxation, rather than for exercise in mental alertness in which they (Americans, at any rate) have indulged all through the week. Therefore, the quiet, smooth-flowing rhythms of Haydn, Mozart and Beethoven (for so life moved in their time) bring to the listener a sense of composer in contrast to the overstimulating movements which drive and urge, while carrying one on in restless pleasure. So, while seldom a sneeze or cough rippled the contentment, the audience listened in pure enjoyment to the Brahms' Tragic Overture, to which Mr. Gabrilowitsch gave a reading wherein was demonstrated the grandeur, nobility and emotional earnestness which Brahms evidently discerned in a tragic character.
95The symphony, Beethoven's Second, followed and was so well done that Mr. Gabrilowitsch and the orchestra had to acknowledge the warmth of applause many times. The very gradual increase in speed and tonal volume, which are two of the outstanding methods by which Mr. Gabrilowitsch achieves a climax, and the minuteness of tonal shading, were fully exemplified in his interpretation.
97After the intermission came the suite, Birthday of the Infanta, a concert version by Franz Schreker of his ballet-pantomime based on an imaginative tale by Oscar Wilde and consisting of eleven short movements and an epilogue played without pause. It is, of course, program music and, except in the sixth episode, adheres to Oscar Wilde's story of the Infanta's birthday festivities, which describes dances, processions, burlesques, etc. The work is in a sense modern but pleasing and makes colorful use of the full, modern orchestra, with skillful introduction of short solo passages for oboe, horn, cello, harp and celesta, all of which were beautifully played by the several soloists.
99The concert closed with Rimsky-Korsakoff's overture, Russian Easter, a selection which the Philadelphia audience generally hears on Good Friday, and at this time again gave full evidence of its appreciation of its beauty as interpreted in Mr. Gabrilowitsch's reading and the splendid performance of the orchestra. The solemn and important solo for the trombone, toward the close of the composition, was finely played by Gardell Simons. Very clearly defined in Mr. Gabrilowitsch's interpretation was the contrast between the ecclesiastical ritual of the Eastern Church and the pagan spirit of the festivities.
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