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UMS Concert Program, : Edouard Remenyi --

UMS Concert Program, : Edouard Remenyi --  image UMS Concert Program, : Edouard Remenyi --  image
Day
12
Month
December
Year
1879
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Rights Held By
University Musical Society
OCR Text

EDOUARD EEMEMI,
THE OIR:E]AT 'VXOXJXHTX&T
ghr,:e_a.t
With His Own Oompany of STAR ARTISTS:
Mrs. Emma Thurston, Mr. Edmond De Celle,
SOPRANO. TENOR.
MR. JULIAN HEINZE
aPIANIST. ___
REMBNYI AT THE SAENGERFEST ----------------, ' U
An Au&noe of 4000 People. T
Editorial in Toledo (Ohio) Blade ofAug't VAth, 1879.
Remenyi's bow is the wand of a magician. The audience Rat patiently through1 the rather prosy speechifying, and listened with a very mild interest to the Welcoming Chorus, but with the first chord of Remenyi's violin the real interest in the Scengerfest began, the curtain raised on the sumptuous least of harmony spread out before our people. It was the old, old story, of the violin in the hands of a great master. N° other instrument can so instantly bewitch and enthrall the hearer. In a breath all Ian guid inatention had disappeared; no one thought of turning to whisper to his neighbor; none cared for anything except that not a note of the wonderful! melody should be lost; the artist had i the entire concourse under his spell; and j could move it to tears or laughter at his j will. There was almost a sense of re lie 11 when he stopped--the relief that comes when we escape from the thraldom of some subtly sweet intoxicant, to whose influences our senses only to willingly yield. It did not require the thunders of applause, nor the clamorous recall, totell him of his triumph. The quick concordance of every auditor with the mood of the player communicated tins to his artistic senses long before he had lin ished his first theme.
EDOUARD RBMENYI.
Toledo (0.) Commercial, Aug. 19th, 1870 He gave the " Adante and Finale oi the Violin Concerto," by Mendelssohn. He came, he saw, he conquered. 11. ' played; the audience listened, with ea gerness at first; then with agitation; the with the wildest enthusiasm. Thef leaned forward in their seats--they llng upon his every movement; breathlase, spellbound. He paused--the exerqfttj was concluded. For a moment there was a profound hush--then a mighty, deafening burst of applause. The performer bowed, but still they cheered; then 1st
bowed again, and yet again, but still i!o ssation in the deafening applause. Then he faved the audience with another selection, with ;i siilar result. He was recalled a third time, iiiul,hen he was finally permitted to leave the pHitt'oi, there could be no doubt in the minds of even t most sceptical, that Herr Remenyi's sr'X'esi iioledo was absolute and overwhelming.
V
MR. JULIAN HEINZE. j
2. Aria--"Nobil Donna,".................Meyerbeer j
MRS. EMMA THURSTON.
3. Recitative and Ballad--From Lurline, ¦
W. V. Wallace MR. EDMOND DE CELLE. j
4. Violin Solo, Fantasia on Othello.............Ernst
' E. REMENYI.
5. Ballad.....................................Clay
MRS. EMMA THURSTON.
a. American and Scotch " melodies, (transcribed
6. Violin Solos, -{ for Violin).......... )-.. Remenyi
I b. Melodies Lyriques et I [_ Heroiques Hongroises, J 'E. REMENYI.
7. Song--The Message................... Blumenthal
. MRS. EMMA THURSTON
( The 21st and 24th "Capric)
8. Violin Solos cios," from Paganini's 24 I Paganim
( celebrated Violin Capriccios ) E. REMENYI.
9. Duettono--Una Notte a Venezia......G. Lucantoni
(A Night in Venice.) MRS. THURSTON and MR. DE CELLE.
Address Business Letters to
SLAYTON'S LYCEUM BUREAU,
Chicago, Illinois.
REMENYI'S VIOLIN.
The violin Rcmenyi uses in bis concerts was manufactured by Antonius Stradivarius, in Cremona, Italy, in the year A. D. 1705. Its intrinsic value is not less than $5,000. He calls it his "Princess."
BURDETTE'S OPINION.
Burlington Hawkeye, Saturday, Sept.
20th, 1879.
Everybody was delighted,---even the : bright little baby whom the lullabys of ; the viol in sang to sleep on the bench next to us.
[ The opening piece was a piano solo I from Chopin very delicately played by Mr. Julian Heinze. He was also awarded I much praise for the correctness and pleasantness of his piano accompaniments throughout the concert.
Mrs. Emma Thurston sang "Nobil Donna," from Meyerbeer, so well as to call forth an enthusiastic encore. She has a pleasant voice, which is particularly good in the higher notes; and she handles it perfectly.
[ Mr. Edmond De Celle sings a soft, full i tenor. His voice is choicely good. He ; also was called back with a storm of ap¦ plause. "i
Remenyi then played a fantasia of his iown, "The Huguenots." What a weird, ; beautiful thing it was! It almost silenced the beating of the heart with its low, sweet, soft, sad moaning; and then with more hopeful strains it "raised it as high ;as Heaven." Three times that enraptured audience, with. storms of cheers, 'called the great master out; but he responded only with obeisance. He afterward played a nocturne, which was so r beautiful that it was almost unpleasant .--for we were in fear that every note I would be the last one. His selection '.from the " Carnival of Venice," set the iaudience wild again; and they would j.:iot permit him to retire. He followed it with a pot-pourri that hushed us to perfect stillness in one moment, and put the house in roars of laughter, the next. The rippling sounds came down upon us like snn-showere." It rained music. , There is a mystery in his management of his instrument. ¦ It isn't a piece of wood. It seems to have a spirit in it, I that loves its master. We thought his fcrst piece could not be excelled; but svery one that followed leaped over the 'other, as the waves climb the sea shore.
Toledo (0.) Evening Bee,Aug.lOt7i, 1879.
Remenyi's name was next on the pro'rramme, and his appearance was the
signal for uproarious appiansev _ ist threw iiis whole soul into his audience .was held in thrilling sound coi Id be heard until thj ished, whi'n the pent-up admirnf burst forth in round after rounf artist responded with a soi thrilled his audience more inf
Greatest of all European Violinists
A BIOGRAPHICAL SKETCH.
The London Examiner of July 1877, supplies the following correct" graphical sketch of Edotjard Reme The great violin virtuoso, says that" nal, is about forty years of age, anc
born at Miskolc, in Hungary. His__,__
ter on the violin at the Vienna Conservatoire, vrhere he studied music, was Joseph Bohm, the same who instructed another Hungarian violinist--Joseph Joachim. His artistic career, which he began very early, was interrupted J)y the Hungarian rising in 1848, in which Rejienyi, then quite a boy, took an active part. Alter the defeat of the insur. gents, he had to fly his country, and resolved to go to England. But on his way to this country, he made the acquaintance of his celebrated countryman, Franz Liszt, who at once recognized his genius, and became his friend and artistic adviser. In 1854 the young artist came to London, and was Appointed solo violinist to the Queen. In 1860 he obtained his amnesty and returned to Hungary, where some time afterwards he received from the Emperor of Austria a similar distinction to that granted him in England. In the meantime he had made himself famous by numerous concerts in Paris and other European capitals. After his return home, he seems for a time to have retired from public life, living chiefly on an estate he owned in Hungary; but two years ago, he resumed his artistic career in Paris, where he was received
with open arms.....As an artist, 11.
Eemesti combines perfect mastery over the technical difficulties of his instrument with a strongly pronouneed poetic individuality. His whole soul is in his playing and his impulse carries him away with it as he warms to his task, the impression produced on the audience being, consequently, always on an ascending scale. . . . He strongly maintains the genuineness of Hungarian music, and has shown himself thoroughly imbued with the spirit of that music by writing several Hungarian melodies, which have been mistaken for popular tunes, and actually adopted as such by other composers. .... Such are the most striking features of the violinist's style, but it must not be thought that these qualities debar him from the serious and congenial interprctalion of classic master-pieces, i comprises the names of delssobn and Schuthose of Chopin and
Mr. Edmond De Gelle,
TEITOE-.
Mr. Julian Heinze,
WILL GIVE ONE OF THEIR
AT
UNIVERSITY HALL,
Ann Arbor, Mich., Friday Eve., December 12,1879.
ADMISSION 5O CENTS. Tickets For Sale at Watt's Jewelry (Store.
Doors Open at 7 p.m. Concert Commences at 8.
A PATRIOT'S REMINISCENCES.
A Hungarian nobleman writes to the New York Sun the following touching letter: '.'.Edouard Renxenyi-,ime coming genius of harmony, is a Hungarian by birth and education. He enlisted as a soldier (HonvCd) in lb4ti, and fought brilliantly. He became an aide-de-camp to Gyorgey when the latter was appointed C'ommanderiii-Ohief of the hero army of Hungary. The writer was aide-de-camp also, and' ranked Remenyi. We all loved and admired Remenyi so much that we used to drive him away from the fields of battle in order to spare the world a masterpiece of creation in music. Incidentally I will mention that on the 11th day of July--one of the bloodiest Aaslro-Iiussian and Hungarian battles --fcfyorgey forbade Remenyi to follow us. Remenyi followed us, neverthelos, and appeared among us in the wjiite heat of the conflict. Gyorgey, oi noticing him, ordered two hussars tojdrag him off the bloody field, un34 arrest. What Rkmenyi is now as anusiciau, I leave an intelligent publii to judge. But I will mention that though at the time only a little lieutenaij of sixteen summers, Remenyi used tqdelight us old veterans, and make oi hearts glad and brave for the next d's fray. His playing on the violin is, a boquet of the inost beautiful flijvers. 1 am positive that he will dgght New Yorkers to the full of tliir expectations, if God will only )lre him and bring him safe and 4ng to our beautiful shores.
Toplany.
IE NEW YORK TRIBUNE, Nov. 12.
:iie Hungarian violinist, Edouaud Rsenyi, wlio made his first appearaiB at Steinway Hall, is one of those ]inomenal artists who can be meaid by the standard of no other men. nparison, in most cases, is but a chbeck criticism, and with such an efcplional and original performer as i it is entirely useless. All his work ra the mark of his own strong charafr, and in everything that he does, ther we consider the intellectual clception of the piece or the technical caution of it, the dillercnces which snrate him from other violinists are iljlrences not so much in the degree dnerit as in the kind. . . The elejice, precision, and neatness of RejjNvr's work is not less notable than .lirilliancy. . .
{SEE PROGRAMME ON OTHER SIDE.] (ovee.)

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