Music Trade Review
Issue: 1898 Vol. 26 N. 23 - Page 7
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THE MUSIC TRADE REVIEW
MAX HEINRICH.
Among the em-
inent baritone and
"lieder" singers of
our time, Max Hein-
rich takes a h i g h
place. His voice is
pure,
sonorous,
splendidly
cultiva-
ted, refined in ex-
pression, and capable
of
dignified
and
dramatic e f f e c t s .
His interpretations
are always marked
by high intelligence
and much a r t i s t i c
taste. He is a man
of strong individual-
ity and at once at-
tracts notice whether
in oratorio, festivals
or recitals. His re-
pertoire is extensive.
Mr. Heinrich will be
heard at a number of
prominent a f f a i r s
during the summer
and fall. We pre-
sent herewith an ex-
cellent portrait of
Mr. Heinrich.
EM1L PAUR IN NEW YORK.
The choice of Emil Paur as conductor of
the New York Philharmonic Orchestra has
occasioned considerable comment, in view
of the fact that he is known to be a strict
disciplinarian and a tireless worker.
Considering the well-known characteris-
tics of the Philharmonic Orchestra, a
writer in the World considers that P^mil
Paur is hardly the man for the place. As
the intimates of Seidl know, the conductor
of that orchestra cannot exercise any def-
inite authority. One or two promotions
and one transfer is the sum total of what
Seidl was able to do in the way of better-
ing the personnel of the band; and he was
the leader for many years. He—the con-
ductor— cannot even make up the pro-
grams. The committee attends ^to that.
He cannot prescribe the number of re-
hearsals nor the duration of each. The
committee decides one of these questions;
the Musical Union fixes the other. Poor
Seidl had often been compelled to undergo
the humiliation of his players leaving their
desks in the middle of a phrase.
How will Paur stand this? In his case,
he will face audiences that are not his
henchmen and disposed to favor him.
The work of the Boston players and that
f i&ao i
All our Instruments contain the full iron frame and
patent tuning pin. The greatest invention in the history
ot piano making. Any radical changes in the climate, heat
or dampness, cannot affect the standing in tone of our in-
struments, and therefore challenge tha world that otu*
frill excel any other
of his new men will be contrasted, and he
will suffer by comparison. The arrange-
ment is an experiment pure and simple,
and its outcome cannot be prophesied.
One thing, however, if Mr. Paur can
stimulate the Philharmonic Society and
elevate its artistic standing in face of the
facts enumerated he will have earned a
niche in the temple of fame. Meanwhile
may good luck attend him.
As the critical columns of the daily
papers have recorded, the Paur of 1898 is
not the Paur of 1893. In all truth it may
be said that while Gericke and Nikisch
made the Boston Symphony Orchestra,
the Boston Symphony Orchestra made
Emil Paur. At first Paur was a cold,
unsympathetic and prosaic leader.
He
thought, but did not feel. He was tradi-
tional, carefiil, conventional.
He fol-
lowed literally the signs in the score. No
one could tell how Paur thought the work
ought to be played, but it was plain to
everyone that Paur was trying to show
that he knew the way most people played
the opus.
Everything was calculated.
Nothing was inspired.
Such was the
Paur of 1893.
This year the musician seemed to have
been transformed.
His readings were
broad, virile, free, vibrant with emotional
life (just what was lacking in his interpre-
tations five years ago). There was noth-
ing left of the bigotry of tradition, of the
timid adherence to established methods
which spoke plainly of a lack of self-con-
fidence. The great orchestra under him
had worked his artistic salvation.
*
Teresa Carreno has been engaged for a
number of important recitals in London,
this season.
VITTORIO DA PRATO
In this age of progress, with broaden-
ing influences on every side, we hear much
of those who are gifted musically. Mean-
while musical knowledge is not alone the
key to eminence—there must be soul cul-
ture as well as musical culture to make
one great and successful in his artistic
sphere.
It is a common thing to hear of this
and that prodigy, but they fade away into
obscurity and are never heard of again.
There are others, however, who are heard
and who continue to be heard.
They
have a mission—they have prepared them-
selves for this purpose—they become the
great and successful artists.
In the latter class we would place Vit-
torio da Prato whose portrait appears on
the front page of The Review. Musically
talented, from his earliest years he has
given his whole time and study to the
perfection of his art—to solving and master-
ing its mysteries. To-day in the verge of
manhood he claims especial notice by
virtue of his marked ability as one of our
rising young violin virtuosos.
Mr. da Prato is a New Yorker by birth,
having been born in this city Nov. 9th,
1878. From his earliest years he evinced
a liking for the violin, and studied for
many years with Clifford Schmidt, con-
certmeister under Seidl. For two years
ending 1898 he traveled with a distin-
guished concert company under the
direction of Julian Jordan,, through New
England and Canada.
He was then
hailed as an artist of exceptional ability,
as the following notices testify:
" Vittorio da Prato, who is a youth of seventeen,
was a favorite of the audience. His performances on
the violin were characterized by a softness and ex-
pression rarely obtained from that instrument except
by the hand of a master, such as Paganini or Ole
Bull. With time and care this young violinist will
make his mark in the musical world."—The North-
ern Advance, Barrie, Ont.
"Young da Prato has fine musical talent. He
played with fine execution and expression the first
movement from De Beriot's violin Concerto No. 7,
an andante, scherzo, Capriccioso by David, and a
Mazourka by Wieniawaski."—Newark, N. J. Call.
"Vittorio da Prato proved himself a master of
that beautiful instrument, the violin, and fairly held
the audience spellbound."—Times, Orillia, Ont.
" He handled the bow with the skill of a master."
—Worcester, Mass., Telegram.
"Vittorio da Prato, the violinist, though still a
boy, possesses wonderful talent. He played for his
first piece, the seventh Concerto by De Beriot, for
his second a Mazourka by Musen. His tone is good,
and his playinu shows no lack of freedom. He gave
the greatest satisfaction."—St. Johns, P. Q., News.
Notwithstanding Mr. da Prato's success
so apparent from the above notices, he
felt that he desired a greater perfection in
his art, and in 1894 left for Europe, where
he has spent the past four years studying
under Eugene Ysaye, the great master,
who was immediately attracted to da
Prato on account of his exceptional tal-
ents. So rapid was his progress as the
pupil of Ysaye, that after the first year he
made his public appearance in Brussels
under the most favorable auspices, win-
ning the praise of his teachers and the
critics. His programs embraced the most
THE MUSIC TRADE REVIEW
MAX HEINRICH.
Among the em-
inent baritone and
"lieder" singers of
our time, Max Hein-
rich takes a h i g h
place. His voice is
pure,
sonorous,
splendidly
cultiva-
ted, refined in ex-
pression, and capable
of
dignified
and
dramatic e f f e c t s .
His interpretations
are always marked
by high intelligence
and much a r t i s t i c
taste. He is a man
of strong individual-
ity and at once at-
tracts notice whether
in oratorio, festivals
or recitals. His re-
pertoire is extensive.
Mr. Heinrich will be
heard at a number of
prominent a f f a i r s
during the summer
and fall. We pre-
sent herewith an ex-
cellent portrait of
Mr. Heinrich.
EM1L PAUR IN NEW YORK.
The choice of Emil Paur as conductor of
the New York Philharmonic Orchestra has
occasioned considerable comment, in view
of the fact that he is known to be a strict
disciplinarian and a tireless worker.
Considering the well-known characteris-
tics of the Philharmonic Orchestra, a
writer in the World considers that P^mil
Paur is hardly the man for the place. As
the intimates of Seidl know, the conductor
of that orchestra cannot exercise any def-
inite authority. One or two promotions
and one transfer is the sum total of what
Seidl was able to do in the way of better-
ing the personnel of the band; and he was
the leader for many years. He—the con-
ductor— cannot even make up the pro-
grams. The committee attends ^to that.
He cannot prescribe the number of re-
hearsals nor the duration of each. The
committee decides one of these questions;
the Musical Union fixes the other. Poor
Seidl had often been compelled to undergo
the humiliation of his players leaving their
desks in the middle of a phrase.
How will Paur stand this? In his case,
he will face audiences that are not his
henchmen and disposed to favor him.
The work of the Boston players and that
f i&ao i
All our Instruments contain the full iron frame and
patent tuning pin. The greatest invention in the history
ot piano making. Any radical changes in the climate, heat
or dampness, cannot affect the standing in tone of our in-
struments, and therefore challenge tha world that otu*
frill excel any other
of his new men will be contrasted, and he
will suffer by comparison. The arrange-
ment is an experiment pure and simple,
and its outcome cannot be prophesied.
One thing, however, if Mr. Paur can
stimulate the Philharmonic Society and
elevate its artistic standing in face of the
facts enumerated he will have earned a
niche in the temple of fame. Meanwhile
may good luck attend him.
As the critical columns of the daily
papers have recorded, the Paur of 1898 is
not the Paur of 1893. In all truth it may
be said that while Gericke and Nikisch
made the Boston Symphony Orchestra,
the Boston Symphony Orchestra made
Emil Paur. At first Paur was a cold,
unsympathetic and prosaic leader.
He
thought, but did not feel. He was tradi-
tional, carefiil, conventional.
He fol-
lowed literally the signs in the score. No
one could tell how Paur thought the work
ought to be played, but it was plain to
everyone that Paur was trying to show
that he knew the way most people played
the opus.
Everything was calculated.
Nothing was inspired.
Such was the
Paur of 1893.
This year the musician seemed to have
been transformed.
His readings were
broad, virile, free, vibrant with emotional
life (just what was lacking in his interpre-
tations five years ago). There was noth-
ing left of the bigotry of tradition, of the
timid adherence to established methods
which spoke plainly of a lack of self-con-
fidence. The great orchestra under him
had worked his artistic salvation.
*
Teresa Carreno has been engaged for a
number of important recitals in London,
this season.
VITTORIO DA PRATO
In this age of progress, with broaden-
ing influences on every side, we hear much
of those who are gifted musically. Mean-
while musical knowledge is not alone the
key to eminence—there must be soul cul-
ture as well as musical culture to make
one great and successful in his artistic
sphere.
It is a common thing to hear of this
and that prodigy, but they fade away into
obscurity and are never heard of again.
There are others, however, who are heard
and who continue to be heard.
They
have a mission—they have prepared them-
selves for this purpose—they become the
great and successful artists.
In the latter class we would place Vit-
torio da Prato whose portrait appears on
the front page of The Review. Musically
talented, from his earliest years he has
given his whole time and study to the
perfection of his art—to solving and master-
ing its mysteries. To-day in the verge of
manhood he claims especial notice by
virtue of his marked ability as one of our
rising young violin virtuosos.
Mr. da Prato is a New Yorker by birth,
having been born in this city Nov. 9th,
1878. From his earliest years he evinced
a liking for the violin, and studied for
many years with Clifford Schmidt, con-
certmeister under Seidl. For two years
ending 1898 he traveled with a distin-
guished concert company under the
direction of Julian Jordan,, through New
England and Canada.
He was then
hailed as an artist of exceptional ability,
as the following notices testify:
" Vittorio da Prato, who is a youth of seventeen,
was a favorite of the audience. His performances on
the violin were characterized by a softness and ex-
pression rarely obtained from that instrument except
by the hand of a master, such as Paganini or Ole
Bull. With time and care this young violinist will
make his mark in the musical world."—The North-
ern Advance, Barrie, Ont.
"Young da Prato has fine musical talent. He
played with fine execution and expression the first
movement from De Beriot's violin Concerto No. 7,
an andante, scherzo, Capriccioso by David, and a
Mazourka by Wieniawaski."—Newark, N. J. Call.
"Vittorio da Prato proved himself a master of
that beautiful instrument, the violin, and fairly held
the audience spellbound."—Times, Orillia, Ont.
" He handled the bow with the skill of a master."
—Worcester, Mass., Telegram.
"Vittorio da Prato, the violinist, though still a
boy, possesses wonderful talent. He played for his
first piece, the seventh Concerto by De Beriot, for
his second a Mazourka by Musen. His tone is good,
and his playinu shows no lack of freedom. He gave
the greatest satisfaction."—St. Johns, P. Q., News.
Notwithstanding Mr. da Prato's success
so apparent from the above notices, he
felt that he desired a greater perfection in
his art, and in 1894 left for Europe, where
he has spent the past four years studying
under Eugene Ysaye, the great master,
who was immediately attracted to da
Prato on account of his exceptional tal-
ents. So rapid was his progress as the
pupil of Ysaye, that after the first year he
made his public appearance in Brussels
under the most favorable auspices, win-
ning the praise of his teachers and the
critics. His programs embraced the most
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