The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1902-08-10
LOND0N'S MUSIC AFFAIRS
WILHELM, VETERAN VIOLINIST, TO
RETURN TO CONCERT STAGE.
Camille Saint-saens, French COmpo-
ser. and Jan KubeIiL<, bohemian
ViOlinist, Exchange COurtesies.

In the midst of the musical and theatrical
season during the festivities in the week
previous to King Edwards illness 1 arrived
in London 10 remain for a brief period be-
fore proceeding to the continent in search
of material for use in the approaching
musical year, writes Sam Frankie in the
New York Sun. About week was spent in
hearing the best music offered TO the Lon
don public and in meeting the resident and
visiting celebrities of the profession.
OF all the people 1 met Americans will
be most interested in Wilhelmj who has not
been in this country since his professional
tour many years ago. His appearance to-
| day presents a strong contrast to the large,
erect, blonde man who became so popular
here His hair is silvery white and by no
means as luXuriant in it's growth as former
Iy; he appears heavier and the elasticity of
bearing of other days is absent. His feat
ures are little coarser. but he still retains
the clear eye and melodous voice.
Wilhelmj displayed much interest in the
musical development of this country. He
remembers all the incidents of his Ameri-
can sojourn and expresses the hope of COM
| ing again professionally for it is his inten-
| This will seem strange TO those who could
not understand his sudden retirement soon
| after his American tour. Wilhelmj evades
all efforts to discover the reason for his
! withdrawal from public view.
His resolve to court popular favor again
is more easily explained On the death
/ Of George Hart, a wel-known writer on
the violin, his son reluctantly sold his
/ IL,
| latter again enter the concert field.
Although Wilhelmj had been the possessor
of one OF the best Stradivarius violins
known, he prefers his new instrument. 1t is
a Joseph GGarnerius del Gesu, possibly the
finest specimen from its maker. as beauti
| ful in appearance as in quality. The four
| strings are absolutely even and the tone is
mellow, powerful, brilliant. 1t is surely
worth the price, which was about $4,000
| and the abandonment of private life.
! In its way the case which holds the in
! strument is just as beautiful, being skill
| fully carved and inlaid. A man said
10 have spent two years in making 1t.
How does Wilhelmj play? With that
| same rich tone that won our admira ton
| years ago and most perfect intOnatiOn.
| This quality Is especially apparent in his
| clean-cut double-stOpping. His repertoire
! probably contains few additions. Nine
| Wilhelmj, an excellent pianist accom-
panied her husband when he played for me.
All around Wlhelmjs room are evidences
of his tastes, triumphs and associations
| Violins lie all over-on the floor, on the
piano; a collection of medals and decora-
tions and framed letters from Wagner,
| List, BuelOw, Richter and other great
lights hang on the walls. A powerful young
English bulldog is his constant companion.
The animal takes the liberties of a pam
pered pet. and Will sometimes snatch the
food which his master is about to eat.
PARAPHRASE OF "RHEINGOLD."
The great violinist devotes himself to
teaching at present, and has great hopes
for few of his pupils, especially an eight
year-old girl, Sybil Keymer, who has al
ready mastered the classic concertos and
| standard violin literature. 1t is well known
| that Wilhelmj is unsurpassed as an ar
ranger for the violin; he is now working
on a 'Rheingold'' paraphrase, some frag-
ments Of which he played for me.
One of his endearing qualities is his de-
votion to his ninety-year-old father, who
lives at Biebrich on the Rhine. He is an
| enthusiastic amateur violinist, clear-headed
| despite his age, and is consulted by his son
| on all his projects
At st. James's Hall heard Kubelik play
| several times. His success was greater
than ever before and the audience went
wild about him. An interesting occurrence
In the artists room after one concert was
the meeting there between Wilhemj and
Saint-Saens. L introduced them to each
| other, though the violinist reminded the
composer that they had PLAYED together in
! Paris many years ago. In the conversation
which followed 1 acted interpreter. for
| WilhelmjS French is as poor as Saint
| SaensS German, and neither has mastered
English. Wilhelmj suggested that he be
allowed to prepare editions OF the ROndo
| CapricciOso and concertoS by Saint-Saens,
! with proper bOwings and fngerings, sa ying
that in teaching il would save making the
necessary marks in every pupils copy. To
| which the Partisan responded that his COM
positions were not written for pupils and
he preferred that fingerings, bowings and
any marks which would restrict the player
in his Interpretation be omitted. The ex-
ecutants individuality should appear
through the medium of the composition II
myself never play my works twice alike"
1t is likely that both musicians attended
this particular concert to hear their own
works. Kubelik played Saint-Saens's Ron
do CapriccIoso and WilhelmJs splendid ar
rangement of Paganinis Introduction,
Theme and Variations"
As an encore Kubelik played THE Swan, -
by Saint-SaenS. and when ne came off the
platform to where standing the
great Frenchman moved forward to grasp
his hand and leaned over to kiss it. With
quick movement the VfoliniSt diSengaged
his hand, grasped that of Saint-SaenS and
reversed the proceeding. 1t was a graceful
and touching act
engaged TO pei form at the Kubelik concerts.
l was not greatly impressed by them; theirs
is a wild, gypsy-like way OF playing, well
suited TO the explosive style of their con-
| ductor, Nedbal, the viola player of the ia
nous Bohemian string quartet
Saint-Saens's eTrand in London was to
direct the rehearsalS of his new coronation
march. He is engaged on the music for the
forthcoming theatrical production by 1.-The
divine Sarah.
That prima donna Of the baton. Nikisch,
filed a large portion of the musical horizon.
Apart from his ability ne fascinates partic-
ularly the LADIES' by his remarkably engage
| ing personality. One fOrgets to listen to the
music in watching the conductor. His
movements seem to express the mood of the
music; he sways gracefully to the undula-
tions of the ''WaldWeb and moves with
martial rigidity to the strains of the IRA
koczy March " There is food for reflection
in the question which a Boston composer
put 10 me: What would be the effect of
the listeners view?
Novelties were not contained i'm his pro-
grammes. 1t suited his purpose better TO
produce such effective ChevauX de battailles