Daily Los Angeles herald., 1881-06-09

bul0W lef6 hanover ana gave
concerts In England and Germ any
for several months. After Bulow
left Hanover, I, Of course, had no
desire to remain. Bulow gave me
q very good letter to Kullak, of
Berlin, whom I have found In
every way most satisfactory. Per.
haps you may feel interested to
know that Bulow told me II I
worked hard I would succeed. I
never thought my technique at all
acceptable, but even Bul0w said l
had been well trained and Kullak
seems to find little fault with 1t.
Liszt, I think, never mentioned
technique to o student. never
heard very much of Kullak In
America, yet he has so many
American pupils. He is o great
teacher, because he is also q thor.
oughly finished artist; his knowl.
edge OF music se,ms almost unlim-
tied. During the months 1 have
been with hind he has played
everything l have taken without
notes with one exception, the
Bach.Tausig Staccato and fugue In
D.minor.
His playing of Chopin is simply
divine. He is considered the best
authority on Chopin's works, and
has already made an edition Of the
valses, etudes and other works by
the same composer. Mr.. and Mrs.
Sherwood, of Boston, studied with
Kullak, so also the Liebling
brothers, Miss Clara Strong, Of
Cleveland. and many of our best
players. Moritz Moszkowski, Kul.
lax considers the best pupil he ever
had. This artist was also the best
at Weimar, in the summer of'79.
His compositions are highly
thought Of In Germany; he Is at
present engaged in composing an
opera, I am told. Moszkowski's
playing is truly masterful, and
lacks only little warmth to make
1t almost perfect. Alfred Grunfeld
Is another pianist, a pupil of Kul.
lax, who is remarkably good; his
exquisite touch will some time
make him famous, and his tech.
nique is immense.
l suppose you know that Kullak
has a conservatory here of twenty
six years standing. In April of
last year he celebrated the twenty.
fifth anniversary; there was q
grand dinner, speeches and toasts,
etc.; congratulations were tele.
graphed from many artists. I know
nothing of the school personally,
put was told that they teach there
the Leipzig and Stuttgart methods.
l Know only Kullak's method,
winch ia simple enough to tell, but
most difficult to practice, |. e., get
the music with the least effort.
His lingering is marvellous; he
seems to simplify the hardest pas
sages by changing single finger. 1
slt ut one plano and he at another.
We play together, which some.
times makes me scramble to keep
up with him; he can be playing
tortissizao, and yet know If use a
wrong finger. He generally has
some story to relate about what
ever composition I mag be study.
ing. He does 1t, he says, to exer.
else my Imagination; for an artist
must have Imagination. It Is very
interesting, and gives me some.
thing to think about. Franz Kul-
lax, Prof. Kullak's son, is q fine
teacher and u brilliant player; he
leads the orchestra of the school. I
played the first movement of the
E.minor Chopin Concerto short
time ago, and shall play the whole
concerto without notes immediate.
ly after the holidays. 1t was my
first attempt with orchestra. I
found 1t nervous work. The audi.
ence kindly gave me very good ap.
plause. Emile 6auret is connected
with the conservatory, and 1 ex-
pect to play with him when he re.
turns from his concert trip. He
played In Berlin in the Sing Akad.
emie last February, and was re.
eeived with enthusiasm.
Camille Submissions played here
last February. He played the fret
concert in the Concert House with
B. Bilse's orchestra. Among bis
selections was his G minor con.
certo. His playing is as perfect as
q music.boS, and he can make the
piano sound exactly like that not
very artistic instrument. I think
his technique is the most faultless
l have yet heard. The programme
was almost entirely devoted to his
own compositions; and the Ger.
mans, in spite of their prejudice
against the French, were obliged
to acknowledge his greatness; he
worked them up to high state of
enthusiasm. Yet he cannot play
Bach, and 1 do not admire the
manner in which he rendered
Beethoven. or all Bach players
Bulow is first; Of all the plano play.
ing I ever listened to, Bulow's rem
dering of Bach gives me the most
genuine pleasure.
Among the regular concerts
given in Berlin, the quartet con.
certs with Joachim as fret violin.
ist are the most enjoyable. The
other artists are de Alma, Wirth
and Hausmann, probably the best
'celllst In the world. You have
read q great deal Of Joachim, and
yet you could not be disappointed
In him. His violin sings, he plays
go easily, and is so dignified! Crit
les conside. his bow arm beyond
criticism. This quartet gives each
year two series of concerts. One
can get good seat (not the besU
for the four concerts for $3.50.
There are also cheaper seats. The
regular prices Of admission to con.
certs Of the first class are ST. %, 81,
down to so or % cents. Another
scale of prices is 81. Is or 81 cents.
We find the second best seats per.
fectly agreeable for ladies' going
alone. In the opera one pays for
parquet $l.25, for first circle, which
is on level with the royal box,