Music Trade Review
Issue: 1899 Vol. 28 N. 13 - Page 3
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With which is incorporated THE KEYNOTE.
VOL.
XXVIII. No. 13.
Published Every Saturday at 3 East Fourteenth Street. New York, April 1,1899,
VIOLIN RECITAL BY PUPILS OF FERDINAND
CARRI.
A N extremely enjoyable concert was
^ * given on Tuesday evening-, March 21,
at Chickering Hall, in the form of a violin
recital, by pupils of the well-known
pedagogue and virtuoso, Ferdinand Carri,
director of the violin department of the
New York Institute for Violin Playing and
School for Piano and Vocal Culture. The
program was made up exclusively of violin
selections, embracing works for ensemble,
as well as solo playing, the solo performers
delivering their numbers from memory,
which is a very remarkable feat in a student s'
concert. Three little players, RosaOhla, W.
Monaghan and P. Moskowitz, opened the
recital with a trio by Dancla. Such en-
semble playing of children so young was
certainly most astonishing.
Rosa, the
youngest of the three, playing the first
violin part, later on gave Alard's Fantasie
" Semiramis" in a wonderful fashion for a
child seven years old. Mr. George Mallett
made a good impression with De Beriot's
Scene de Ballet, and Miss Midge Gilson
received much applause for the remarkable
ease with which she overcame the difficulties
in Leonard's Souvenir de Haydn.
Miss
Theodora Lilienthal, who, with Mr. David
Pasternak, gave a splendid performance of
Sarasate's " Navarra " for two violins, had
an opportunity to distinguish herself in
Vieuxtemps' Ballade and Polonaise later in
the evening, in which she exhibited bril-
liant execution, combined with breadth of
style and good judgment.
Mr. Pasternak
gave a most finished performance of the
difficult Fantasie "Othello" by Ernst.
His cantabile in the slow movements was
sympathetic, his bowing excellent, and his
technic throughout the piece very remark-
able.
Ida Wanoscheck made a perfect sensation
with her fine violin playing. The easy
manner with which she conquered the diffi-
culties in Vieuxtemps' Air Varie, Op. 22,
her fine staccato playing, her flawless
technic in general, the pure and sweet tone
she draws from the violin, aroused the au-
dience to enthusiasm. Raff's Cavatina and
the Kujawiak Mazourka, by Wieniawski,
were played by Willie Monaghan. This
little fellow gets a tone from his G string
that is wonderful for one so young, and the
ohnracteristic style with which he played
the Mazourka, was astonishing. Carri's
brilliant "Norma Fantasie " for two violins,
found two enthusiastic interpreters in
Charles David and Isidor Moskowitz. The
introduction was played with great expres-
sion and the surprising technical feats were
executed with ease, and rang out clear and
brilliant. Both young lads in connection
with Ida Wanoscheck, also played Papini's
Marche Nuptiale, for three violins. The
last number on the program, Handel's
Largo, was played with great tonal effect
by the Misses Lilienthal, Gilson, Tim,
Porter, Wanoscheck, Graa, Kenney, Ohla,
the Messrs. Schoner, Pasternak, Mallett,
Locke, Bound, Moskowitz, Ermanow, David,
Monaghan, I. and Ph. Moskowitz and
Ferton.
The hall was crowded to the
doors with an audience that seemed to enjoy
the recital immensely, appreciating the
work of the young artists by enthusiastic
applause and a great many floral tributes.
Mr. Ferdinand Carri, the director of the
institution, can justly look back to this re-
cital as a triumph in violin instruction, and
may be proud of the success of his pupils.
*
/~\PERA in English will continue at the
^-^ American Theatre, and it is evident
that the translated " Lohengrin " of a few
weeks since will be followed shortly by
" Tannhiluser " and other ambitious adap-
tations. The new leading tenor for '' Tann-
hauj-er" is E. C. Hedmondt, whohas a record
of over 100 appearances in this opera in
England, and who, upon one occasion, sup-
plied the leading part at short notice in a
German performance at Covent Garden.
As leading tenor in the English repertory
of the Carl Rosa Opera Company, Mr. Hed-
mondt is well known in Great Britain. He
was once heard in this country in a season
of the Emma Juch Opera Company. A
native of the same Eastern State that gave
two great singers to the Grau organization,
Mr. Hedmondt went as a youth to England,
and by the help, it is said, of the Princess
Louise, was sent to receive a musical edu-
cation at Berlin and Leipsic. His studies
in Germany occupied seven years, and in
1886 the young man took something better
than a thinking part in a " Meistersinger "
performance at Bayreuth. In England his
best known roles have been the usual Don
Jose, Faust, Romeo and Raoul, and the
unusual Tannhauser and Siegmund. He
also, in London, in 1895, led the perform-
ance of Franco Leoni's " Rip Van Winkle,"
$2.00 P 1 R YEAR.
SINGLE COPIES 10 CENTS
under direction of Sir Augustus Harris.
The tenor will make his debut with the
Castle Square Company as Fenton in
"Merry Wives of Windsor" on Easter
Monday, April 3.
*
A N invisible concert, that is, a concert at
**• which-the performers will be entirely
out of sight, is proposed for London by
Dr. Heinrich Pudor. He writes: " T h e
program will include two pieces for orches-
tra (one of the classic school and one of
the modern school), a work
music, as well as vocal and
pieces, in order to be able to' judge"
oughly if the suggestion as to invisible per-
formances is practicable for ever)-
jp]j
tion of musical instruments or hot. I trust
that the English public will regard that
trial, not as a mere curiosity, but,as a scri
ous attempt to make musical performances
thoroughly artistic, and to take away from
them everything juggling. Oneoften hears
it said abroad that artists will be the more
appreciated in England the more they aie
showers of tricks, the longer their hair, the
more charming their smile and behavior.
" But that belief will be falsified if England
will bring a warm interest to the first at-
tempts to adapt the idea of invisible orches-
tras to the concert-room."
*
T ONGFELLOW'S exquisite poem, "The
*—' Hanging of the Crane," is the subject
of W. L. Taylor's illustration in his "Peo-
ple of Longfellow" series for the April
Ladies' Home Journal. The drawing is
concededly one of the best—decidedly
the most interesting—of Mr. Taylor's re-
markable series. Mr. Taylor illustrates
the situation in which the newly wed bride
and groom sit in the glow of the great
hearth fire which the poet pictures in the
words:
"The lights are out, and gone are all the guests
That thronging came with merriment and jests,
To celebrate the hanging of the crane."
*
\ 1 7 E understand that Mr. S. Von Grabill,
*^
the eminent pianist who has won
so much distinction abroad, and who is
winning the favorable notice of the Amer-
ican press, has entered into an engagement
with a well-known manager for a tournee
through the United States and Canada. We
are not permitted to announce his already
booked recitals, but we know that he is at
present under contract in the far South.
With which is incorporated THE KEYNOTE.
VOL.
XXVIII. No. 13.
Published Every Saturday at 3 East Fourteenth Street. New York, April 1,1899,
VIOLIN RECITAL BY PUPILS OF FERDINAND
CARRI.
A N extremely enjoyable concert was
^ * given on Tuesday evening-, March 21,
at Chickering Hall, in the form of a violin
recital, by pupils of the well-known
pedagogue and virtuoso, Ferdinand Carri,
director of the violin department of the
New York Institute for Violin Playing and
School for Piano and Vocal Culture. The
program was made up exclusively of violin
selections, embracing works for ensemble,
as well as solo playing, the solo performers
delivering their numbers from memory,
which is a very remarkable feat in a student s'
concert. Three little players, RosaOhla, W.
Monaghan and P. Moskowitz, opened the
recital with a trio by Dancla. Such en-
semble playing of children so young was
certainly most astonishing.
Rosa, the
youngest of the three, playing the first
violin part, later on gave Alard's Fantasie
" Semiramis" in a wonderful fashion for a
child seven years old. Mr. George Mallett
made a good impression with De Beriot's
Scene de Ballet, and Miss Midge Gilson
received much applause for the remarkable
ease with which she overcame the difficulties
in Leonard's Souvenir de Haydn.
Miss
Theodora Lilienthal, who, with Mr. David
Pasternak, gave a splendid performance of
Sarasate's " Navarra " for two violins, had
an opportunity to distinguish herself in
Vieuxtemps' Ballade and Polonaise later in
the evening, in which she exhibited bril-
liant execution, combined with breadth of
style and good judgment.
Mr. Pasternak
gave a most finished performance of the
difficult Fantasie "Othello" by Ernst.
His cantabile in the slow movements was
sympathetic, his bowing excellent, and his
technic throughout the piece very remark-
able.
Ida Wanoscheck made a perfect sensation
with her fine violin playing. The easy
manner with which she conquered the diffi-
culties in Vieuxtemps' Air Varie, Op. 22,
her fine staccato playing, her flawless
technic in general, the pure and sweet tone
she draws from the violin, aroused the au-
dience to enthusiasm. Raff's Cavatina and
the Kujawiak Mazourka, by Wieniawski,
were played by Willie Monaghan. This
little fellow gets a tone from his G string
that is wonderful for one so young, and the
ohnracteristic style with which he played
the Mazourka, was astonishing. Carri's
brilliant "Norma Fantasie " for two violins,
found two enthusiastic interpreters in
Charles David and Isidor Moskowitz. The
introduction was played with great expres-
sion and the surprising technical feats were
executed with ease, and rang out clear and
brilliant. Both young lads in connection
with Ida Wanoscheck, also played Papini's
Marche Nuptiale, for three violins. The
last number on the program, Handel's
Largo, was played with great tonal effect
by the Misses Lilienthal, Gilson, Tim,
Porter, Wanoscheck, Graa, Kenney, Ohla,
the Messrs. Schoner, Pasternak, Mallett,
Locke, Bound, Moskowitz, Ermanow, David,
Monaghan, I. and Ph. Moskowitz and
Ferton.
The hall was crowded to the
doors with an audience that seemed to enjoy
the recital immensely, appreciating the
work of the young artists by enthusiastic
applause and a great many floral tributes.
Mr. Ferdinand Carri, the director of the
institution, can justly look back to this re-
cital as a triumph in violin instruction, and
may be proud of the success of his pupils.
*
/~\PERA in English will continue at the
^-^ American Theatre, and it is evident
that the translated " Lohengrin " of a few
weeks since will be followed shortly by
" Tannhiluser " and other ambitious adap-
tations. The new leading tenor for '' Tann-
hauj-er" is E. C. Hedmondt, whohas a record
of over 100 appearances in this opera in
England, and who, upon one occasion, sup-
plied the leading part at short notice in a
German performance at Covent Garden.
As leading tenor in the English repertory
of the Carl Rosa Opera Company, Mr. Hed-
mondt is well known in Great Britain. He
was once heard in this country in a season
of the Emma Juch Opera Company. A
native of the same Eastern State that gave
two great singers to the Grau organization,
Mr. Hedmondt went as a youth to England,
and by the help, it is said, of the Princess
Louise, was sent to receive a musical edu-
cation at Berlin and Leipsic. His studies
in Germany occupied seven years, and in
1886 the young man took something better
than a thinking part in a " Meistersinger "
performance at Bayreuth. In England his
best known roles have been the usual Don
Jose, Faust, Romeo and Raoul, and the
unusual Tannhauser and Siegmund. He
also, in London, in 1895, led the perform-
ance of Franco Leoni's " Rip Van Winkle,"
$2.00 P 1 R YEAR.
SINGLE COPIES 10 CENTS
under direction of Sir Augustus Harris.
The tenor will make his debut with the
Castle Square Company as Fenton in
"Merry Wives of Windsor" on Easter
Monday, April 3.
*
A N invisible concert, that is, a concert at
**• which-the performers will be entirely
out of sight, is proposed for London by
Dr. Heinrich Pudor. He writes: " T h e
program will include two pieces for orches-
tra (one of the classic school and one of
the modern school), a work
music, as well as vocal and
pieces, in order to be able to' judge"
oughly if the suggestion as to invisible per-
formances is practicable for ever)-
jp]j
tion of musical instruments or hot. I trust
that the English public will regard that
trial, not as a mere curiosity, but,as a scri
ous attempt to make musical performances
thoroughly artistic, and to take away from
them everything juggling. Oneoften hears
it said abroad that artists will be the more
appreciated in England the more they aie
showers of tricks, the longer their hair, the
more charming their smile and behavior.
" But that belief will be falsified if England
will bring a warm interest to the first at-
tempts to adapt the idea of invisible orches-
tras to the concert-room."
*
T ONGFELLOW'S exquisite poem, "The
*—' Hanging of the Crane," is the subject
of W. L. Taylor's illustration in his "Peo-
ple of Longfellow" series for the April
Ladies' Home Journal. The drawing is
concededly one of the best—decidedly
the most interesting—of Mr. Taylor's re-
markable series. Mr. Taylor illustrates
the situation in which the newly wed bride
and groom sit in the glow of the great
hearth fire which the poet pictures in the
words:
"The lights are out, and gone are all the guests
That thronging came with merriment and jests,
To celebrate the hanging of the crane."
*
\ 1 7 E understand that Mr. S. Von Grabill,
*^
the eminent pianist who has won
so much distinction abroad, and who is
winning the favorable notice of the Amer-
ican press, has entered into an engagement
with a well-known manager for a tournee
through the United States and Canada. We
are not permitted to announce his already
booked recitals, but we know that he is at
present under contract in the far South.
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