Music Trade Review
Issue: 1905 Vol. 40 N. 9 - Page 4
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THE
MUSIC TRADE
REVIEW
TIMELY TALKS ON TIMELY TOPICS.
The opera season has closed the most success-
ful pages of its history, and it is certain that not
only in the number of people who attended, hut
also in the manner in which they listened,
this season's work has never been equaled. It
is true that the caliber of the artists was such
as to attract and to hold—in other words, the
"star" system has not lost any of its power. But
no one could fail to note the more intelligent
manner in which the audiences listened to the
operatic offerings. It would not be fair to at-
tribute this wholly to the attraction at the opera
nor to the work of the exploiters of metropolitan
opera. As each season goes on, and we note
growth, not only in numbers but in intelligence,
we are able to realize that all those who work
together and individually for the cause of music
do not work in vain.
All standards are higher than they were—in-
deed to such an extent that there is room for
nothing except it have some dominating note of
merit. This does not mean that everything must
reach the point of perfection because the more
understandingly people listen to music, the more
they are able to endure and forgive certain
shortcomings when the rest of the work war-
rants this charitable attitude, but it does mean
that superficiality is making way for the genu-
ine and the genuine is satisfying a very much
larger circle of people.
The influence of music is a topic into which
everybody's pen has dipped, but it is doubtful
that even those who have written with enthusi-
asm upon this subject fully realize what a tre-
mendous refining power it has. The subject is
too deep to go into for a moment, but it is suffi-
cient to say that so insidiously and so subtly is
this refinement accomplished that it were im-
possible to say when and how. In the same way
it is not possible to say when and how the stand-
ard raises and only by looking back upon what
has passed we are enabled to measure the differ-
ence between what is and was.
When the subject of growth and expansion of
the musical life in this city is in hand it is im-
possible not to refer to the work done by the
People's Symphony concerts, not only at their
Carnegie Hall affairs, but also in those which
purport to be smaller in dimension—the chamber
music concerts given at Cooper Union Hall.
These have grown from a few straggling curi-
ous listeners to an audience of 1,500 people who
listen to the very best music and to hear it with
discrimination and understanding. When the
masses can listen to Bach, Beethoven and music
of this caliber and appreciate its high mission
it is certain that the seed of culture has been
planted in fertile soil. F. X. Arens, the founder
of these concerts and the conductor of the or-
chestra, has planned a delightful programme
concert for the People's Symphony series at Car-
negie Hall. All the selections will be repre-
sentative of spring, and in this Mr. Arens hopes
to convey directly the spirit of the letter, since
this concert will be given as spring dawns. It is
to be hoped that the elements will not thwart the
poetical design of this interesting conductor who
has done so much for the musical atmosphere
of this city.
The New York Symphony Orchestra has given
its last concert for this season, and it must be a
triumph for the friends of Walter Damrosch to
realize what he has made of these concerts this
year. He has established a clientele, not of the
ephemeral sort, but of such people whom he has
been able to interest by the novelties he has pre-
sented, as well as in the manner in which he has
presented them. Mr. Damrosch is a man of vigor,
of energy and beyond all he is a scholarly musi-
cian, actuated not only by ambition but by pure
love for the best and the highest in music. He
has brought his orchestra to a very high degree
of excellence and this orchestra fills the need to
a nicety. Notwithstanding the fact that the
regular symphony concerts of this organization
are over for this season it is still heard and will
be heard until the end of the season at some of
the largest concerts under private auspices and
upon occasion when the services of an orchestra
are required. Perhaps nothing of the season has
been more important than the pair of concerts to
be given by Mr. Damrosch and the New York
Symphony Orchestra, with Kreisler and Ysaye
as soloists, for the benefit of the New York
Orthopedic Hospital. These two giants of the
violin have been heard many times singly with
orchestra and in solo, but together they will
make not only a powerful attraction but a rare
study in contrasts and in methods. They will
play the Bach double concerto for violin.
ing to see that his friends take this means of ex-
pressing a testimonial of their appreciation and
that the list of artists will include the Kneisel
Quartet is significant in itself. The concert will
occur March 29th at Mendelssohn Hall.
The death of Mrs. Marion Cook, which oc-
curred week before lasr, removes from musical
circles a woman who had endeared herself to all
those interested in concert giving, which is not
easy for those in managerial life. But Mrs. Cook
as Mr. Charlton's right hand, discharged tact-
fully and earnestly all those duties which ad-
justed the artist to the public and her death will
be seriously regretted by a very large circle of
friends who knew her personally and appreci-
ated her beautiful womanhood, as well as by a
much larger circle who knew her in a business
way and appreciated in her those qualities which
concerned them directly. Mrs. Cook died of
cancer of the stomach, and whereas her friends
had noticed a gradual decline in her health the
truth was not known even to herself until a lit-
tle over a month ago.
The violin has been a strong feature of this
EMii.IK FUANCKS BAUER.
season's attractions, since in addition to these
artists we have heard both Kneisel and Willie
Hess, who is a powerful figure as concert mas-
SCHILLING'S GREAT TRIUMPH
ter of the Boston Symphony Orchestra. Perhaps
no more interesting study in types could ever be With the Mason & Hamlin Pianoforte at Last
Saturday's Concert of the Famous Symphony
offered than is presented by these four violinists
Orchestra in Boston.
of whom Ysaye and Kreisler represent the virtu-
oso artists, and Kneisel and Hess no less artists
Ernest, Schelling, whose portrait appears on
and probably more serious musicians—men of our cover page, made his debut in Boston on Sat-
high ideals and exquisite bearing. Nor must we urday with the great Boston Symphony Orches-
forget young von Vecsey, who succeeded in aston- tra. He achieved a success of more than ordin-
ishing even those who understand the technical- ary importance, both for himself and for the Ma-
ities of the violin. In a certain sense this was son & Hamlin piano which he played.
a violin season, yet in the presence of all the Mr. Schelling is one of the very few pupils
great artists among the pianists of this year su- of Paderewski and in many ways resembles his
premacy could hardly be yielded to any other in- illustrious teacher. The Boston press accorded
strument. We have only two to hear. All the him a veritable triumph, and in musical circles
rest have been weighed and indeed they have he is spoken of as a man of rare and telling ac-
not been found wanting. Ernest Schelling will complishments. The Mason & Mamlin piano,
make his debut in New York with the Boston which he used, made it possible for him to show
Symphony Orchestra and Paderewski will play every phase of his art since it was in every way
his only concert. March 25. D'Albert is in responsive to his most subtle demands, as well
the height of his triumphs, and Josef Hofmann as to his most powerful ones.
is not on the wane. Adele Aus der Ohe is filling
Mr. Schelling will be heard in New York with
some of her European engagements, but she will
the
Boston Symphony Orchestra upon its next
be back in time for her spring engagements in
April. Fannie Bloomfield-Zeisler gave a recital visit and he will also be the assisting artist with
under the auspices of the Woman's Philharmonic the Kneisel Quartet at its next concert. Mr.
Society, which was an extra favor from the Schelling will also play a recital at Mendelssohn
hands of this great pianiste, who gave the first Hall, but the date is not yet fixed.
piano recital in the season of 1904-05. De Pach-
mann is winning as many laurels in the far West PLAYING OF SHORT PIANO PIECES
as he did in New York and Boston, which speaks Commended by Fannie Bloomfield-Zeisler, Who
well for the appreciation of that section of the
Finds Them Refreshing.
country, and Emil Paur, not satisfied with stand-
ing among the greatest of the world's conductors,
When Mrs. Fannie Bloomfield-Zeisler gave her
is rated among the greatest pianists, not only in last recital in New York she was criticised for
Pittsburg but on tour with his orchestra. So playing certain short piano pieces. But she had
much for the foreign artist.
her reasons for it, which are given in a recent
interview:
"As to pieces by modern composers who are
This season has also been made notable
through the appearance of Rafael Joseffy with not played generally by pianists, I try to include
the Boston Symphony Orchestra, and it. seems as a few in each of my recital programmes. And I
though there would be only one thing to wish have generally found that the audience is with
for and that is a piano recital by this colossal me. * * * i have found that devoting ten or
artist. It has been a long time coming but we fifteen minutes to their compositions is refresh-
ing, and makes us enjoy the giant things more
are still hoping.
that, follow. The menu of a dinner cannot be all
One of the most interesting events which the soup and beefsteak. There must also be some
future holds is a concert of the compositions of light little things, and a musical programme
Henry Holden Huss, in which the Kneisel Quar- must have the same characteristics. They are
tet will play a new string quartet by Mr. Huss, as correct in this case as in that of the menu.
which he wrote at the instance of Ysaye. Mr. Sehiitt, Poldini, Moszkowski, Godard, Chahrier
Kneisel will also play with the composer the have given us some charming examples of mod-
Huss sonata for violin and piano, and Mrs. Hilde- ern, lighter work. Poldini, for instance, a pupil
garde Hoffman-Huss will sing some new songs in piano playing of Rosenthal, and now living in
in addition to some piano numbers played by Switzerland, has written among other things lit-
tle sets of four or five pieces that are very at-
Mr. Huss.
tractive. Whenever my pupils have studied one
Another concert of more than passing inter- of his compositions they have invariably gone in
est is that which will be tendered to George search of more of them. A set of etudes are
Becker, who for many years has been foremost among his more ambitious achievements. This
among those who have been active in the con- season I am playing'a few things by living pian-
cert life of New York. Mr. Becker has had that ists. And why should I not? If they are not as
very important feature known as the box office great as the Beethoven symphonies, they are
under his care and there are few people in the written well for the piano; the public likes them,
musical world who are not indebted to him for and so do I. I am not averse to paying a compli-
favors and courtesies of all kinds. It is refresh- ment to a colleague who deserves it."
THE
MUSIC TRADE
REVIEW
TIMELY TALKS ON TIMELY TOPICS.
The opera season has closed the most success-
ful pages of its history, and it is certain that not
only in the number of people who attended, hut
also in the manner in which they listened,
this season's work has never been equaled. It
is true that the caliber of the artists was such
as to attract and to hold—in other words, the
"star" system has not lost any of its power. But
no one could fail to note the more intelligent
manner in which the audiences listened to the
operatic offerings. It would not be fair to at-
tribute this wholly to the attraction at the opera
nor to the work of the exploiters of metropolitan
opera. As each season goes on, and we note
growth, not only in numbers but in intelligence,
we are able to realize that all those who work
together and individually for the cause of music
do not work in vain.
All standards are higher than they were—in-
deed to such an extent that there is room for
nothing except it have some dominating note of
merit. This does not mean that everything must
reach the point of perfection because the more
understandingly people listen to music, the more
they are able to endure and forgive certain
shortcomings when the rest of the work war-
rants this charitable attitude, but it does mean
that superficiality is making way for the genu-
ine and the genuine is satisfying a very much
larger circle of people.
The influence of music is a topic into which
everybody's pen has dipped, but it is doubtful
that even those who have written with enthusi-
asm upon this subject fully realize what a tre-
mendous refining power it has. The subject is
too deep to go into for a moment, but it is suffi-
cient to say that so insidiously and so subtly is
this refinement accomplished that it were im-
possible to say when and how. In the same way
it is not possible to say when and how the stand-
ard raises and only by looking back upon what
has passed we are enabled to measure the differ-
ence between what is and was.
When the subject of growth and expansion of
the musical life in this city is in hand it is im-
possible not to refer to the work done by the
People's Symphony concerts, not only at their
Carnegie Hall affairs, but also in those which
purport to be smaller in dimension—the chamber
music concerts given at Cooper Union Hall.
These have grown from a few straggling curi-
ous listeners to an audience of 1,500 people who
listen to the very best music and to hear it with
discrimination and understanding. When the
masses can listen to Bach, Beethoven and music
of this caliber and appreciate its high mission
it is certain that the seed of culture has been
planted in fertile soil. F. X. Arens, the founder
of these concerts and the conductor of the or-
chestra, has planned a delightful programme
concert for the People's Symphony series at Car-
negie Hall. All the selections will be repre-
sentative of spring, and in this Mr. Arens hopes
to convey directly the spirit of the letter, since
this concert will be given as spring dawns. It is
to be hoped that the elements will not thwart the
poetical design of this interesting conductor who
has done so much for the musical atmosphere
of this city.
The New York Symphony Orchestra has given
its last concert for this season, and it must be a
triumph for the friends of Walter Damrosch to
realize what he has made of these concerts this
year. He has established a clientele, not of the
ephemeral sort, but of such people whom he has
been able to interest by the novelties he has pre-
sented, as well as in the manner in which he has
presented them. Mr. Damrosch is a man of vigor,
of energy and beyond all he is a scholarly musi-
cian, actuated not only by ambition but by pure
love for the best and the highest in music. He
has brought his orchestra to a very high degree
of excellence and this orchestra fills the need to
a nicety. Notwithstanding the fact that the
regular symphony concerts of this organization
are over for this season it is still heard and will
be heard until the end of the season at some of
the largest concerts under private auspices and
upon occasion when the services of an orchestra
are required. Perhaps nothing of the season has
been more important than the pair of concerts to
be given by Mr. Damrosch and the New York
Symphony Orchestra, with Kreisler and Ysaye
as soloists, for the benefit of the New York
Orthopedic Hospital. These two giants of the
violin have been heard many times singly with
orchestra and in solo, but together they will
make not only a powerful attraction but a rare
study in contrasts and in methods. They will
play the Bach double concerto for violin.
ing to see that his friends take this means of ex-
pressing a testimonial of their appreciation and
that the list of artists will include the Kneisel
Quartet is significant in itself. The concert will
occur March 29th at Mendelssohn Hall.
The death of Mrs. Marion Cook, which oc-
curred week before lasr, removes from musical
circles a woman who had endeared herself to all
those interested in concert giving, which is not
easy for those in managerial life. But Mrs. Cook
as Mr. Charlton's right hand, discharged tact-
fully and earnestly all those duties which ad-
justed the artist to the public and her death will
be seriously regretted by a very large circle of
friends who knew her personally and appreci-
ated her beautiful womanhood, as well as by a
much larger circle who knew her in a business
way and appreciated in her those qualities which
concerned them directly. Mrs. Cook died of
cancer of the stomach, and whereas her friends
had noticed a gradual decline in her health the
truth was not known even to herself until a lit-
tle over a month ago.
The violin has been a strong feature of this
EMii.IK FUANCKS BAUER.
season's attractions, since in addition to these
artists we have heard both Kneisel and Willie
Hess, who is a powerful figure as concert mas-
SCHILLING'S GREAT TRIUMPH
ter of the Boston Symphony Orchestra. Perhaps
no more interesting study in types could ever be With the Mason & Hamlin Pianoforte at Last
Saturday's Concert of the Famous Symphony
offered than is presented by these four violinists
Orchestra in Boston.
of whom Ysaye and Kreisler represent the virtu-
oso artists, and Kneisel and Hess no less artists
Ernest, Schelling, whose portrait appears on
and probably more serious musicians—men of our cover page, made his debut in Boston on Sat-
high ideals and exquisite bearing. Nor must we urday with the great Boston Symphony Orches-
forget young von Vecsey, who succeeded in aston- tra. He achieved a success of more than ordin-
ishing even those who understand the technical- ary importance, both for himself and for the Ma-
ities of the violin. In a certain sense this was son & Hamlin piano which he played.
a violin season, yet in the presence of all the Mr. Schelling is one of the very few pupils
great artists among the pianists of this year su- of Paderewski and in many ways resembles his
premacy could hardly be yielded to any other in- illustrious teacher. The Boston press accorded
strument. We have only two to hear. All the him a veritable triumph, and in musical circles
rest have been weighed and indeed they have he is spoken of as a man of rare and telling ac-
not been found wanting. Ernest Schelling will complishments. The Mason & Mamlin piano,
make his debut in New York with the Boston which he used, made it possible for him to show
Symphony Orchestra and Paderewski will play every phase of his art since it was in every way
his only concert. March 25. D'Albert is in responsive to his most subtle demands, as well
the height of his triumphs, and Josef Hofmann as to his most powerful ones.
is not on the wane. Adele Aus der Ohe is filling
Mr. Schelling will be heard in New York with
some of her European engagements, but she will
the
Boston Symphony Orchestra upon its next
be back in time for her spring engagements in
April. Fannie Bloomfield-Zeisler gave a recital visit and he will also be the assisting artist with
under the auspices of the Woman's Philharmonic the Kneisel Quartet at its next concert. Mr.
Society, which was an extra favor from the Schelling will also play a recital at Mendelssohn
hands of this great pianiste, who gave the first Hall, but the date is not yet fixed.
piano recital in the season of 1904-05. De Pach-
mann is winning as many laurels in the far West PLAYING OF SHORT PIANO PIECES
as he did in New York and Boston, which speaks Commended by Fannie Bloomfield-Zeisler, Who
well for the appreciation of that section of the
Finds Them Refreshing.
country, and Emil Paur, not satisfied with stand-
ing among the greatest of the world's conductors,
When Mrs. Fannie Bloomfield-Zeisler gave her
is rated among the greatest pianists, not only in last recital in New York she was criticised for
Pittsburg but on tour with his orchestra. So playing certain short piano pieces. But she had
much for the foreign artist.
her reasons for it, which are given in a recent
interview:
"As to pieces by modern composers who are
This season has also been made notable
through the appearance of Rafael Joseffy with not played generally by pianists, I try to include
the Boston Symphony Orchestra, and it. seems as a few in each of my recital programmes. And I
though there would be only one thing to wish have generally found that the audience is with
for and that is a piano recital by this colossal me. * * * i have found that devoting ten or
artist. It has been a long time coming but we fifteen minutes to their compositions is refresh-
ing, and makes us enjoy the giant things more
are still hoping.
that, follow. The menu of a dinner cannot be all
One of the most interesting events which the soup and beefsteak. There must also be some
future holds is a concert of the compositions of light little things, and a musical programme
Henry Holden Huss, in which the Kneisel Quar- must have the same characteristics. They are
tet will play a new string quartet by Mr. Huss, as correct in this case as in that of the menu.
which he wrote at the instance of Ysaye. Mr. Sehiitt, Poldini, Moszkowski, Godard, Chahrier
Kneisel will also play with the composer the have given us some charming examples of mod-
Huss sonata for violin and piano, and Mrs. Hilde- ern, lighter work. Poldini, for instance, a pupil
garde Hoffman-Huss will sing some new songs in piano playing of Rosenthal, and now living in
in addition to some piano numbers played by Switzerland, has written among other things lit-
tle sets of four or five pieces that are very at-
Mr. Huss.
tractive. Whenever my pupils have studied one
Another concert of more than passing inter- of his compositions they have invariably gone in
est is that which will be tendered to George search of more of them. A set of etudes are
Becker, who for many years has been foremost among his more ambitious achievements. This
among those who have been active in the con- season I am playing'a few things by living pian-
cert life of New York. Mr. Becker has had that ists. And why should I not? If they are not as
very important feature known as the box office great as the Beethoven symphonies, they are
under his care and there are few people in the written well for the piano; the public likes them,
musical world who are not indebted to him for and so do I. I am not averse to paying a compli-
favors and courtesies of all kinds. It is refresh- ment to a colleague who deserves it."
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