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Th4 poi oft filn Ori bef the sioi oth firs sioi or I Th< shi TIW wh This item is filmed at the reduction ratio checked below/ Ce document est film* au taux de r*duc^st night was a mcnioriible one. First, there was the retur'. to New York after many years of Edouard Remtfnyi, the rjlebrated violinist. 'I'here was the enthusiastic crowd of frienas who came to wel- come him, and they gave him such an ovation as few artists have ever met with. Kemtfnyi has certainly not lost his technique nor his strength of bowing, and his old fire and magnetism still remain. — N. Y. Evening Telegram. The reception which was accorded to Rem^nyi on his appear- ance was an ovation which swelled into a tremendous wave of enthusiasm after his spirited rendering of the three movements of the Godard concerto. So insistent was the applause that he was com|jelled to repeat the canzonetta movement, give two more encores after that, and then come out and bow his acknowledg- ment half a dozen times before the audience could be satisfied.— N. Y. Commercial Advertiser. No concert that has been held in Central Music Hall in many weeiws has been the occasion of such enthusiasm as was displayed last night at the first appearance hbre after a lapse of several years of Mr. Edouard Re:nenyi. The audience was large and mainly composed of musicians and music-lovers. When Mr. Remenyi appeared on the stage he was greeted enthusiastically, and every number brought a demand for an encore. At the close of the Godard concerto, with which he opened the evening, and after the playing of a characteristic arrangement of the "Dead March" in "Saul," the violinist was repeatedly recalled with plaudits and " bravos," a circumstance rare at any Chicago concert. ^ His playing of these r.jmbers was not to be tried by ordinary standards. What may be genius, and what certainly is eccen- tricity, makes laws unto itself, and for Remenyi there are no laws but his own. He has the old fire, the passion, vigor, and aban- don which have always characterized him. One is still surprised at the <'ariety of the voices with which his instrument speaks, and at the breadth of tone which he produces. This tone, pure and not string-like in the higher notes, vibratory and vigorous in the lower ones, is peculiarly warm and full. Its sound floods the whole theatre, and where most violinists produce a hard, brilliant, wiry note, Remenyi gets a tone which is broadly pervasive and resilient. Critics and pedants complain of Rem^nyi's fearless disreg^^rd of classic conventions. But when a violinist liize^ his hearers with a remarkable grasp on their human sympathies, and com- plains to them or comforts them at will, one cannoyt deny him possession of the power of a complete expression. — Chicago Newt. There is only one Remtfnyi. He demonstrated that fact at his concert. He has the most marvelous technique, the most dainty tone, coupled with the ability to bring out every resource of his instrument. He is the poet of the violin ; not wholly the poet of sentiment, but the poet of fire and force. Nothing could be more delicious than his performance of the canzonetta in Godard's concerto, nor could any violin playing be more impressive than the Schubert " Serenade," which he gave as the first encore number. It was in this piece that he showed his ability as a master of tonal resource. The violin, in the harmonic parts, filled the large hall with its sound. It became in the hands of Remenyi a thing full of life and power. The beauty of Rcm^nyi's s*yle is that it is so warm and appeals so directly to the musical s^nse. It may be original, sometimes superficial, but it is always effective. All classes appreciate the eloquence of his playing. He is an exceptional artist whom it is ever a delight to hear.— Chicago Evening Post. Mr. Remenyi must have been thoroughly satisfied, from the warmth of the greeting given him, that he is very pleasantly remembered. It was said of him long ago that he was nut the finished artist that one or two others were ; that he did net scorn the d(/<'ii//om/Mm in order to "catch the crowd." And if that was true in those days, it can scarcely be that he has repented since. But, confessing these little wiles to lay hold on those who do not understand the other thing, he is still master of his instrument. His tone is smooth, pure, steady, and his bowing and fingering as luU of confidence as they could be. He has the true muaical feeling, too, knowing both what an effect should be and how to compass it. The canzonetta served to display to great advantage the player's wonderful delicacy and precision in execution, and his power of producing the merest thread of sound that wbs yet perfect in musical quality, and the final allegro displayed the fire aiid dash uf which he is capable and the impetuosity and accuracy combined of his technic. Enthusiasti- cally, indeed rapturously, recalled, he responded with Schubert's "Serenade," which gave occasion for some of the most exquisitely sustained and flowing legato playing heard here in many a day, and was played with much more breadth and passion of shading than is usually given the work. — Chicago Timet. IL Mr. Rem^nyl made a very great lucceii. Hit teUction of CiuJard's tuiicerlu shuwc^ < prctereiice fur tlie old iiutiuii uf a \ concerto as a display fur the cxhibiliuii uf virtuusity, rather than / a jiifcu of nuisic in which the sulu iiislrumeiit merely takes the leadini; part.. Nevertheless, it is an admirable vehicle fur the exhibition uf violin playing, and sliuwed all the qualities uf the violinist, fium a tine and tlowinj; cantabilc- and a remarkable lariety and effectiveness of phrasing tu tricks uf forte and piano. NVhaliMi else may be said of it, it has iml, in Kemcnyi's hands, a dull nuiinenl. The applause was very enthusiastic, breaking out in cries as well as in hand-clappings, and was so importunate (hat the violinist was not let off short of two encore piecrs. — A'. )'. 'I'inics. Kmasculaled musical sense dues nut approve uf Kduuard Keinenyi, l)Ut this artist possesses thf fainlty of arousing enthu- Miasm an>jng the people who love music nut su much fur music's sake as fur their own. Therefore, despite criticism, he does valuable service in the cause of music. Ills playing at Cuntral Music Hall last evening was delightful from the lay point of view, although it does not appear that the professional critics found in it anything that was praisewurlliy. Ky these happy dwellers on the heights his most effective work is dubbed "musi- cal trickery "and "charlatanry," and one of them even regrets, with a tear in his voice, that Kemenyi, by his "vulgar devices," should disbar himself from serious consideration. This is sad, but M. Kemenyi will try to bear up. — Chidigo E'cniiif; JoidimI. As.suciatiun Hall was crowded last evening with .tn audience that showered upon Mr. Kd. uard Kemenyi, the great Hungarian violinist, rounds of applause that betokened the virtuoso's powers of ;irou ing enthusiasm, as in days gone by, when he met with unprecedented triumphs in all parts of the Union. He has not lust ai\y of the vim and tire that have m.idc him famous. 'I'his was shuwn in his playing of his own " Hungarian Melodies," and in this he aroused his audience to the highest pitch of enthusiasm. He was recalled repeatedly, and for his last encore played his famous "Liberty Hymn," composed by him during his former visit to the United .Stales. After every one of his selections he was forced to respond to encores. It is very evident that he will repeat his former conquesls. — VItt PhiUiJelf'hia Press, Nov. 6, 1S91. Kemenyi, the world-famous violinist, was the centre of attrac- tion at the Star Course entertainment at Tremonl Temple last evening. He h.is perfect mastery of the king of instruments, and seems to delight in making it do unheard-of things and emit sounds that are not oidy wonderful in their li(|uid sweetness, but decidedly unique and surprising. Kvery note uf his playing had ill it something tu claim the attention of the audience, and they gave him applause without stint. Keinenyi was heard at his best in the Hungarian melodies of his own composition, and thoU{',h it was la' ; in the evening before they were reached, the aiidii'iice gave closer attention than to any other number on the pro- gramme. — Boston Adftrlisei, Nov. 24, 1.S91. The great violinist is no stranger here. Kor years he has been the admiration of musicians in Hartford, and his peculiar genius has impressed more than the uri:ig the decade that has elapsed sin'.e he last appeared here Kemenyi h.is not perceptibly v hanged '<:• appearance. His hair is still untouched by the frosts of time, his ilosily shavi-n face is as free from lines and wrinkles as a luan of thirty-live, and his short, compact figure is .is robust and sluidv as if he were just begin niiig life. .\t lifly-niiii; Kennnyi is but fairly in his prime, and it m.iy be iiileristing to the worlil to know that he attributes his superb heal'') and vigor to his loial alistincm e Imm liipior of any description, fiom tobacco, and ftum a meat diet. — />i/i^'if I'Kt Pi\ss, Jan. 25, iHyj. It was a large ami appreciative audience that greeted Kemenyi, the famous Hung. irian violinist, last night. There were people who thoroughly understood music, and people who did not, and it is safe to say that both were eipially well pleased. The play ing of the gieat artist was ,1 level.ition, and appealed to the connoisseur and the one who simply lovi'S "fiddling" alike.— /V//.-.V, Ci'/., '/'imrs, .March J2, iSijj. The appearanre of Mr. Kdouard Ki-miMiyi in concert last even- ing was one of the most e.xieptioiial tre.its that lould have been offered to even the most critical audience. Mi. Kemenyi is heraldi.-d as the greatest living violin virtuoso, and the cUimi will be ic.idily comeilcd, as it would be hypercriticism to ccnparc him with any violinist who has visiteagined btau'ies in the composition, so llinrnughly is it clothed with his individuality. — .SV. Pan/, MiiiH., I'lontir /'iits, April IJ, 1892. Kemenyi, the violinist, receiveil a perfect uvition last evening at the Lyceum rin.'.ilre. .\ good house greeted liiiii, and the enthusi;'^in w.is inoie liiati proportionate to ilie numbers. When he appeareil, with the benevolent, clerical .111 of a priest, his popularity cryslalli/eii in prolonged applause, and at every ins'ant on the stage he rose in favor. It is the p.'rsoiiality of the man that charm-' His (piaiiit, strung indiviilii.ili^in lolois, every cadence, and inu. -s his selec- lions iiior" his own iT'-iitioiis than thos^^^lhe composers. His tiiiinipli lies m 'his wonderful powe^|P|BX|)ression. He is with lul a rival in liis .diilily to interpret music in a realistic, tangible way thai appeals to every one. Ills violin scolds, sings, weeps, aiul lau-.;hs. The sudden, unexpected change of sentiment gives brilliant pirpiancy to his execution. At one moment the speaking iiisinimeiu is all tenderness; at the next it breaks into a wittii ism, and laughs in trills of nmtagious mirth. At times his touch is fo delic.ile that the bow seems only to ho»er like a magic wand above the responsive strings. Kvery shade of feeling he expresses. — Munieapotis, Minn., Times, April 14, 1S92. The only Kemenyi spun fairy tales of delighlful music last evening to a crowded and enraptured audience in the Opera House. The audience was fairly entranced with his exquisiteiv clear and dainty touches, and in response tu emphatic recalls he reapj)cared .several timet, with true bimlwmic. Kveii after responding three times in succession after his last number, he was compelled to appear twice and bow his acknowledgments. The piogramme called for nve selections by Kemenyi, but before the conclusion the audience had extorted six encores, making eleven in all, each additional number seeming only to add to the enthusiaim. — Ottawa Daily Citiun, Out., Dec. 31., lift. MINNIE D. MET MOT. soprano. PUPIL OP MME. MARCHE5I. PARIS. Mits Minnie D. Methot, who has been pursuing her vocal studies in }'ari« for the last year, and who was well known \r\ Chi- cago as an accomplished singer prior to her depart- ure (or Furnpe, has just bad a public appearance in the French capital. She was received with en- thusiastic favor by a criti- cal audience.anil plaudits were showered upon her. So (,'reat w^s her success that she has become the especial favorite of a large class of musical patrons in Paris.— Oi- lajro Evening Post. Miss Minnie D. Methot, the charming vocalist, sang in a most dclij,'htful way, several solos. C/iicaj^a Sunday Trilnine. It often happens that when a star like Remenyi appears in this city his support is bad. This, however, was not the case last night. First came Miss Methot. who in her airs from "Barber of Seville," and in the duet and quartet pleased all. There has not been heard in Montreal such a charming singer for some time. Her clear intonation, un- iiffectedness and lovely voice pleased every ont.—f*»^ ^<'/M*//Va«, Nov. 17. MLLE. FLORENCE SAGE, pianiste. Mile. Florence .Sage must be quite a revelation to mus- ical tyros and oven to experts. The least proficient iu list- ening to such a performance as that of Schumann's music last ni;;lit realized the beauty of tlic composition and the genius of the composer, and that tiie player is reading very truly the harmonious thoughts of the master. Professional pianists too often embellish their reading with their own conceits and freaks. It is pleasant to believe that Mile. Sage, thorough and thoughtful student that she is, has both the taste and ability to give Schumann and all vhe other great composers on her tine program as they were or would like to be. St. Louis Globe-Democrat. Mile. Florence Sage showed herself to be a competent accom[)anist and a pianist of no ordinary skill. It is al- most recommendation to be envied when a pianist receives from a Lansing audience an encore. —Z-iiWiVw^' Republican Mile. S.ige, in addition to playing the accompaniments, contril)iitod I.i>zt's j|^igarian Rhapsody No. 12," showing a ma.-if- cago Evening Journal. The baritone, J. W. Marshbank, is the possessor of a re- markably line voice, pure and full of sympathy, and his fin- ished rendering was much enjoyed.— /.awjing" Republican. Mr. J, W. Marshbank made an extremely favorable im- pression, singing with great beauty of phrasing. — Chicago Inter Ocean. The large audience was completely carried away by his fine voice in the "Storm Fiend, -i'aw Francisco Chronicle. IHATKn « MCKMN STATIOflMT 00., CHICAGO. I the w appro sayinf iyctui REC H. I ^1 1?* I I ^EJWEflYl Grand Concerts. THH WORliD'S FAVOl^ITB VllMfllST. EDOUAHD HEME^^YI SUPPORTED BY THE FOLLOWINQ CELEBRATED ARTIST5: MiQDie D. Metbot, Soprano. Mile. Florence Sage, Solo pUnUt aiiD Xccompantat. Jas. W. HarsbbaDk, Santonc. THE UNUSUAL SUCCESS,= mIOTH artistically and financially, of the Remenyi Concerts last season excuses the immense pride J and gratification with which we announce this, the second tour of the most popular violinist in the world, EDOUARD REMENYI, supported by a company of distinguished soloists, selected and approved by Remenyi himself. The numerous recalls from cities visited last season warrant our saying most positively that Remenyi is the most satisfactory and best drawing attraction offered to lyctum and concert managers. ^„^r^ REDPATH LYCEUM BUREAU, SOLEAOENti. ml boston, lao Tremont street. H. B. THEARLE. ch.»go. resident MmaEii of couPm. ^ Chicago. Tribune Building. VICTORIA THEATRE ONE NIGHT ONLY= 3 x ait5>£» . ? PROGRaMME. '. . . ^^ i^ Vocal Duet.— From "La TravlaU," . . . y*rdi «^ MIB8 IIBTHOT KOA MB. MABBHBANK. i 2. SoNti.— "The TwoGrenadiera," . MR. 1IAB8BBANK. 3. Violin Solo.— " Othello," . . . B. BBMBNYI. ScMumann Ernst 4. Soprano Solo.— Aria, "Harber of Seville," Rossini MISS IIBTHOT. 5. Violin Solo.— **. Choral Nocturne, . . . Chopin b. Zapatcado, .... Sarasatt B. BBIIBNTI. 6. Piano Solo.—" 'Khapsodie Hongroite, No. i a," F, LisMt MLl B. 8AOB. 7. Selection.— "Ave Maria," Gounod For soprano, barilona, piano, and violii.. MI88 MBTHOT. MR. MAR8HBANK. MLLB. BAOB. MB. RBMBNYI. 8. Violin Solo.— Caprices by Pagani B. RBMBNTI. 'Mt 9. Vocal Duet.— "May .Song," Rtintckt MI88 MBTHOT and MB. MABBHBANK. (1 ED0UA1?D t^EmEHVI. There are several reasons why the Seidl concert '^t night was a memorable one. First, there was the retiir'. to New York after many ycar.i of Edouard RemtSnyi, the r.-lebrated violinist. 'I'licre was the enthusiastic crowd of frienas who came to wel- come him, and they gave him such an ovation as few artists have ever met with. Kem^nyi has certainly not lost his techniqae nor his Atiength of bowing, antt his old fire and mag till remain. — A'. V. Evening Teltgram. The reception which was accorded to Rem^nyi on his appear- ance was an ovation which swelled into a tremendous wave of enthusiasm after his spirited rendering of the three movements of the Uodard concerto. So insistent was the applause that he was compelled to repeat the canzonetta movement, give two more encores after that, and then come out and bow hit acknowledg- ment half a dozen times before the au His playing of these numbers was not to be tried by ordinary standards. What may be genius, and what certainly is eccen- tricity, makes laws unto itself, and for Rem^nyi there are no laws but his own. He has the old fire, the passion, vigor, and aban- don which have always chat.:cterized him. One is still surprised at the variety of the voices with which his instrument speaks, and at the breadth of tone which he produces. This tone, pure and not string-like in the higher notes, vibratory and vigorous in the lower ones, is peculiarly warm and full. Its sound floods the wliole theatre, and where most violinists produce a hard, brilliant, wiry note, Kemenyi gets a tone which is broadly pervasive and resilient. Critics and pedants complain of Remdnyi's fearless disregard of classic conventions. But when a violinist ■eizes his hearers with a remarkable grasp on their human sympathies, and com- plains to them or comforts them at will, one cannot deny him possession of the power of a complete expression.— CAiVu^v Newt. There Is only one Remtinyi. He demonstrated that fact at his concert, lie has the most marvelous technique, the most dainty tone, coupled with the ability to bring out every resource of hiit instrument. He is the poet of the violin ; not wholly the poet of sentimen*. hut the poet of fire and force. Nothing could be- more delicious thkn his performance of the canzonetta in Godard's concerto, nor could any violin playing be more impressive than the Schubert "Serenade," wh'ich he gave as the first encore number. It was in this piece that he showed his ability as a master of tonal resource. The violin, in the harmonic parts, filled the large hall with its sound. It became in the hands of Remtfnyi a thing full of life and power. The beauty of Remtfnyi's style is that it is so warm and appeals so directly to the musical sense. It may be original, sometimes superficial, but it is always effective. All classes appreciate the eloquence of his playing. He is an exceptional artist whom it is ever a delight to hear.— Chicago Evening Post. Mr. Rem^nyi must have been thoroughly satisfied, from the warmth of the greeting given him, that he is very pleasantly remembered. It was said of him long ago that he was not the finished artist that one or two others were ; that he did not scorn the :vcning before they were reached, the audience gave closer att.;ntion than to any other number on the pro- gramme. — Bo: ton Advtrtiser, Nov. 24, 1891. 'I'he great violinist is no stranger here. For years he has been the admiration of musicians in Hartford, and his peculiar genius has impressed more than the qualities of any other virtuoso. There is ju.st enough of the erratic, the gypsy quality, the romantic inspiration in his performance to endow it with a special charm aside from and above any other playing. He is a wonderful master of technique — so absolute that he frequently slights it ; and, while he astonishes and dazzles at one moment with seeming impossibilities, in the next he .slips over or treats ordinarily a commonplace bit of score. However, these instances are few. Usually the audience is held breathless by a marvelous and astonishing technique, a witchcraft on the strings, that now overwhelms you with the pyrotechnics of the virtuoso, and again touches you with the mastery of the artist. As compared to previous performances Kemdnyi's play has become more emo- tional in expression and aong like in iomt.— Hartford 7imes,Hov. 17, 1891, Any one who bclitvw for a moment that Edotard Kemtfnyi, the eminent and unapproachable violin virtuusu, is simply a musical prodigy, wuuld do well tu immediately curiect that misapprehension, fur the fact is he is a man uf the bruadest intel- ligence, the must lucid ideas, and the rlp"st culture. Allhuugh he speaks Knglish with a marked foreign accent, he expresses himself with great clearness, his choice of words it niarkeil by the best of taste, and no mailer what channels cunvertatiun may drift into, he is perfectly at home and evinces a thorough knowl- edge of ihe subject matter. IJuring the decade that has elapsed since he last ap|ieared here Keinenyi has nut perceptibly chanjjcd in appearance. His hair is still iintuurhed by the frusts of time, his closely shaven face is as free from lines and wiinklcs as a luan of thirty-tive, and his shurt, compact flKure is as robust and sturdy as if he were Just l>egin- ning life. At liftynine Keinenyi is but fairly in his prime, and it may be iiilcresling tu the wurld to knnw that he attributes hit superb health and vigor to his total abstinence from licp r uf any descriptiun, from tobacco, and from a meal diet. — /KIroil Free Pi.is, Jan. 2J, 1.S92. It was 1 large and appreciative audience that greeted Kemeiiyi, the famous Hungarian violinist, last night. There were people who thoroughly understood music, and people who did not, and it is safe to say that both were e(|ually well pleased. The play- ing uf the great artist was a revelatiun, and appealed to the connoisseur and the one who simply luves " fiddling " alike. — Denver, Col., Timti, March 22, 1S92. The appearance uf Mr. Kduuard Kemenyi in concert last even- ing was one of the most exceptional treats that 1 ould have been offered tu even the most critical audience. Mi. Keinenyi is heralded as the greatest living viulln virtu bcvn purtfuin^ her vu( al studii's in rnru fur thr last year, and who was well known in Chi- ca^'o as an a('< oiiipllshcd Binder prior to her depart- ure for F.iinipe, has just had a piibhc a|tp('araiicc in tlic KreiK h capital. She was received with en- thusiastic favor by acriti- ral nudience.and pi. .'dits were showered iipctn her. Soj;reat was lier success that she has become the especial favorite of a lar^'c class of musical patrons io Paris. -Chi- caj^o Evening Post. Miss Minnie I). Methot, the chariiiini,' vocalist, sany in a most (!ili;;liifiil way, several koIos. ('/iuui'i> Sunday 'i'niiine. It often happens that when a star like Kemenyi appearii in this ( iiy bis support is bad. This, howover, was not the casu last night. First came Miss Methot, who in her airs from "Harber of Seville," and in the duet and quarte pleased all. There has not been heard in Montreal such ' liarnuiiK singer for some time. Her clear intonation, uii .iffcctedncss and lovely voice pleased every ont.—A/ontrra (JazttU. Her voice is n, pure soprano of unusu.!! power an sweetness and amonjj Chii iijjoans a tulurc is [irophe^ic for her. MissMelliot i-. a j,'raiid-iiie(e of Throdori' Wai I tel, the famous German tenor. — Chicago Sunjrcat ran^;e an abundant power. Adiliil to the jjood voice is ii picasiii presen< e and faultless vo< ali/.ition; so it v/as not to !>' wondered at that a vocifcro -s recall folloivi;d, which w.t responded to wi.h a pretty ballad beautifully sunj,'. To> onto Empire. Of Uie support too much can hardly be said in praisi Beautiful in appearance and charrniii),' in manner Minnie Methot was at oni e a favorite, lier voice, sweet soprano, well trained and umlcr (umplete contro delighted the .'ludienie. I.anninf; Kepuhluan, Nov. 17. "00 O O O (I "0 <^ Q 11 UI«ID< ,er. Mi'^j E, a rir'/ MLLE. FLORENGE SAGE, pianiste. Mile. Floren( o .Sago must be quite a revelation to mus- ical tyros and iven to experts. The least protii lent in list- ening to such a performaiw e .is that of Schumann's music laU night realised the beauty of the ( omposition and the geiiMisiif tlie composer, ami that the plaver is rciding very truly the li.irmonious thoughts of tlie mister. Professional pianists t,'nibcllish tlnir reading with their own con< cits and freaks. It is |ileasant to believe that Mile. Sage, tli(iroui;h and thoughtful student that she is, has both the taste ami ability to give .S< hiimann and all ihe other great composers on her line program ;is they were or would like to be. S/. /.otns <,'/i.>/ir-/)fMthr,if. Mile. Florence Sage showed lierself to be a competent acdimpani^t and a pianist of no ordinary skill. It is al- most recoiumiiulalioii to be en\ied whin a pianist receives from a Fan iiig auiliem e an encore. J.umtnt; Nt-puhliidn .Mile. S.igc, in addition to playing the ai mmpaniments, ton(ril>uli by Rubinstein, was ex< '.'ediiigly well rendered, while 1 equally well-known "lV)|o:iai-f," by Chopin, was given wi all the freedom and abandon which it culls fur. — Indian^ otis Times. c). W. MARShBANK, baritone. Mr. J. VV. Marshbank made the hit of tlie evening. His rendering of Ucn/.a's "Mar- guerite" was a tre.it in the way of ballad "-iiiving, and calculated 10 please the most exacting critic. As an en- core he gave the "Wolf," contirming the good impres- sion made by his first song. He has a rich, powerful voice Of great range, and gives evidence of careful study and a thorough appreciation of his v/oxV..— Chicago Elite AV'7i'.?. "Creation." Mr. J. \V Marshbank m.nde hosts of friends by his beautiful voice and finished rendering of the bass parts. —C'// /( t) o CI (» t, r) I) CI o o c) ti (I c» o CI CI cl ci ci n n CI CI u CI M II II CI II CI o o al power aa is jirnphcMC cotlorr \V;ic I lity Utralii. "The Uarhc (lis()liiyin(; In at ratine ai is II iilt'.'isiii irns not to I i;d, wliic h w;i ly Bunjf. - Tei said in pr>is< iiianntT, MiA r voice, a rir'/ n|ilete lontro f, Nov, 17. ^ THE WORLDS FAVORITE VIOLINIST, ^ ^ssisled by llic loliovv'ipn Lcleoratcc] Virlislu IWlle. FloFenee Sage, Solo Pianist ancj Accompanist, jVliss jVlinnie jVlethot, Soprano Soloist. Jas. W. IWarshbank, Baritone. ic heartitst ;i lonccrt I'ltud^ ired, wliilc 1 was >;ivun wi for. — JndiaHi. The Vniisiial Sill I CSS, both) artistically aiid financially, of ttie Rerneriyi last season f'X" pride and Concerts cuses ti|o irnnriense gratification vJitl-i whic'n We an- nounce th)is, tl^e second tour cf tt^e rno."t popular violinist in 'he cl of a voici' "World, EDOUARD REMENYI, assisted by a conqpany of distinguisl^ed soloists, selected and and yweotni ,in throuKhiiapproved by Renrienyi hirnself. Tl^e niJiTl&rous recalls fron\ cities visited last season Warrant expression, r training." c our saying rnost positively tl^at Renr\enyi is tlio nqost satisfactory and best drawing attraction Itoryland," a dered by Mr >iin,i^ Herald Dssi^ssor of a offered to lycouri and concert rnanagers tliy, and his :__ ing Republic , favorable )patb X^ccutit ffiuvcau, lis.ng.-CAuv 5^^^ ^^^^^5 •TON. lao Trcmont Street. r;d away by ' CHICnco. Tribune Buildina- rHEARLE, Chicago, Resident Manager of Company. J)u UDITORIUMt »- '^ f H.&Sat. jVov. 4 & 5 ^ND SATURDAY NIATIIIEE. TICKETS 75, 50 & 25o.l ""':»*:?"'- • • . PROGRAMME. . • • 1. Vor-Ai. Duet.— From "La Traviata," . . , Verdi (x Piano Solo.— "Rhapsodic Hongroise, No. 12,"^. /:mj/ MI.LE. SAOB. MISS MBTHOT and MR. MARSHBANK. 2. S()\(i. — "The Two ("irenadicrs," . . . . Schumann MB. MARSHBANK. 3. Violin Solo.— "Othello," ....... F.rnst E. BEMENYI. 4. Soi'KANo Solo.— Aria, " Barber of Seville," Rossini MISS METHOT. 5. Violin Solo. — a. Choral Nocturne, b. Zapateado, . . B. REMENYI. 7. Selection. — "Ave Maria," Gounnd For aoprano, baritone, piano, and violin. MISS MBTHOT. MR. MARSHBANK. MLLB. SAOB. MB. RBMBNYI. 8. Violin Solo. — Caprices by Paj^anini B. REMBNYI. Chopin Sarasate ^ 9. Vocal Duet. — "May Song," Reinecke \ MI£iS METHOT and MR. MARSHBANK. edouahd f^EmEHVl. There are several reasons why the Seidl concert hist night was a memorable one. I'"irst, there was the return to New York after many years of Kdouard Kemenyi, the celebrated violinist. There was the enthusiastic crowd of friends who came to wel- come liini, and they gave him such an ovation as few artists h.ive ever met with, kemenyi has certainly not lost his technique nor his strength of bowing, ;ind his old fire and magnetism still remain. — N. Y. Eve 11 in t; Tcli\i;nim. The reception which was accorded to Rem^nyi on his appear- ance was an ovation which swelled into a tremendous wave of enthusiasm after his spirited rendering of the three movements of the Godard concerto. So insistent was the applause that he was compelled to repeat the canzonetta movement, give two more encores after that, and then come out and bow his acknowledg- ment half a dozen times before the audience could be satisfied. — N. J'. Commercial Advertiser. No concert that has been held in Central Music Hall in many weeks has been the occasion of such enthusiasm as was displayed last night at the first appearance here after a lapse of several years of Mr. Kdouard Kemenyi. The audience was large and mainly composed of musicians and music-lovers. When Mr. Kemenyi appeared on the stage he was greeted enthusiastically, and every numlier brought a demand for an encore. At the close of the Got'ard concerto, with which he opened the evening, and after the playing of a characteristic arrangement of the "Dead March" in " Saul," the violinist was repeatedly recalled with plaudits and "bravos," a circumstance rare at any Chicago concert. His playing of these numbers was not to be tried by ordinary standards. What may be genius, and what certainly is eccen- tricity, makes laws unto itself, and for Renienyi there are no laws but his own. He has the old fire, the passion, vigor, and aban- don which have always characterized him. One is still surprised at the variety of the voices with which his instrument speaks, and at the breadth of tone which he produces. This tone, pure and not string-like in the higher notes, vibratory and vigorous in the lower ones, is peculiarly warm and full. Its sound floods the whole theatre, and where most violinists produce a hard, brilliant, wiry note, Kemenyi gets a tone which is broadly pervasive and resilient. t!ritics and pedants complain of Remenyi's fearless disregard of cl.assic conventions. Uut when a violinist seizes his hearers with a remarkable grasp on their human sympathies, and com- plains to them or comforts them at will, one cannot deny him possession of the power of a complete expression. — Chicago News. There is only one Kemenyi. He demonstrated that fact at his concert. He has the most marvelous technique, the most dainty tone, coupled with the ability to bring out every resource of his instrument. He is the poet of the violin ; not wholly the poet of sentiment, but the poet of fire and force. Nothing could be more delicious than his performance of the canzonetta in CJodard's concerto, nor could any violin playing be more impressive than the Schubert " Serenade," which he gave as the first encore number. It was in this piece that he showed his ability as a master of tonal resource. The violin, in the harmonic parts, filled the large hall with its sound. It became in the hands of Kemenyi a thing full of life and power. The beauty of Kemenyi's style is that it is so warm and appeals so directly to the musical sense. It may be original, sometimes superficial, but it is always effective. All classes appreciate the eloquence of his playing. He is an exceptional artist whom it is ever a delight to hear, — Chicago Evening Post. Mr. Kemenyi must have been thoroughly satisfied, from the warmth of the greeting given him, that he is very pleasantly remembered. It was suid of him long ago that he was not the finished artist that one or two others were ; that he did not scorn the (i(/<-(7//rt«(/«/« in order to "catch the crowd." And if that was true in those days, it can scarcely be that he has repented since. But, confessing these little wiles to lay hold on those who do not understand the other thing, he is stili master of his instrument. His tone is smooth, pure, steady, and his bowing and fingering as full of confidence as they could be. He has the true musical feeling, too, knowing both what an effect should be and how to compass it. The canzonetta served to display to great advantage the player's wonderful delicacy and precision in execution, and his power of producing the merest thread of sound that was yet perfect in musical quality, .and the final allegro displayed the fire and dash of which he is capable and the impetuosity and accuracy combined of his technic. Enthusiasti- cally, indeed rapturously, recalled, he responded with Schubert's " .Serenade," which gave occasion for some of the most exquisitely sustained and flowing legato playing hoard here in many a day, and was played with much more breadth and passion of shading than is usually given the work. — Chicago Times. Mr. Rem^nyi made a very great succcsii. His selection of (jodard's concerto sliowed a preference for tiie old notion of a concerto as a display for the exkibition of virtuosity, rather than a piece of music in which the solo instrument merely takes the leading part. Nevertheless, it is an .idmirable vehicle for the exhibition of violin playing, and showed all the (pialilies of the violinist, from a fine and flowing cantabile and a remarkable variety and ctfectivcness of phrasing to tricks of forte and piano. Whatever else may be said of it, it has not, in Kemeiiyi's hands, a dull moment. The applause was very enthusi.istic, breaking out in cries as well as in hand-clappings, and was so importunate that the violinist was not iet off short of two encore pieces. — A''. )'. Times. Knuisculated musical sense does not approve of Edouard Uemenyi, but this artist possesses the faculty of arousing enthu- siasm among the people who love music not so much for music's sake as for thjir own. Therefore, despite criticism, he does valuable service in the cause of music. Ilis playing at Central Music I fall last evening was delightful from the lay point of view, although it does not appear that the professional critics found in it anything that was praiseworthy. By these happy dwellers on the heights his most effective work is dubbed "musi- cal trickery "and "charlatanry," and one of them even regrets, with a tear in his voice, that Kemcnyi, by his "vulgar devices," should debar himself from serious consideration. This is sad, but M. Remenyi will try to bear up. — Chicago Evcnin;^ Juiirnid. Association Hall was crowded last evening with an audience that showered upon Mr. lidonard Remc-nyi, t!.e great Hungarian violinist, rounds of api)lause that betokened the virtuoso's powers of arousing enthusiasm, as in days gone by, when he met with unprecedented triumphs in all parts of the Union. He has not lost any of the vim and fire that have made him famous. This was shown in his playing of his own " Hungarian Melodies," and in this he aroused his audience to the highest pitch of enthusiasm. He w.ts recalled repeatedly, and for his last encore played his famous " Liberty Hymn," composed by htm during his former visit to the United States. After every one of his selections he was forced to respond to encores. It is very evident that he will repeat his former conquests.— The PhiUidelphia Press, Nov. 6, 1891. Remenyi, the world-famous violinist, was the centre of attrac- tion at the Star Course entertainment at Tremont Temple last evening. He has perfect mastery of the king of instruments, and seems to delight in making it do unheard-of things and emit sounds that are not only wonderful in their litiuid sweetness, but decidedly unique and surprising. Every note of his playing had in it something to claim the attention of the audience, and they gave him applause without stint. Remenyi was heard at his best in the Hungarian melodies of his own composition, and though it was late in the evening before they were reached, the audience gave closer attention than to any other number on the pro- granrme. — JS.'slon Advertiser, Nov. 24, 1891. The great violinist is no stranger here. For years he has been the admiration of musicians in Hartf^. d, and his peculiar geniiis has impressed tnore than the qualities of any other virtuoso. There is just enough of the erratic, the gypsy quality, the romantic inspiration in his performairce to endow it with a special charm aside from and above any otlier playing. He is n wonderful master of technique— -so absolute that lie frequently slights it; and, w'hile he astonishes and dazzles at one moment with seeming impossibilities, in the next he slips over or treats ordinarily a commonplace bit of score. However, these instances are few. Usually the audience is held breathless by a marvelous and astonishing technique, a witchcraft on the strings, that now overwhelms you with the pyrotechnics of the virtuoso, and again touches you with the mastery of the artist. As compared to previous performances Remenyi's play has become more emo- tional in expression and song-like in tone. — Ifartford TimeStNow 17, 1891. Any one who believes for a momiiit that Edouard Remenyi, the eminent and unapproachable violin virtuoso, is simply a musical i)rodigy, would do well to immediately correct that misapprehension, for the fact is he is a man of the broadest intel- ligence, the most lucid ideas, and the ripest culture. Although he speaks ICnglish with a marked foreign accent, he expresses himself with great clearness, his choice of words is marked by the best of taste, and no matter what channels conversation may drift into, he is perfectly at home and evinces a 'borough knowl- edge of tlie subject matter. During the decade that has elapsed since he last appeared here Remenyi has not perceptibly changed in appearance. His hair is still untouched by the frosts of tiiue, his closely shaven face is as free from lines and wrinkles as a man of thirty-five, and his short, compact figure is as robust and sturdy as if lie were just begin- ning life. M fifty-nine Remenyi is but fairly in his iirinie, and it may be interesting to the world to know that he attrifiutes his sup'rb health and vigor to his total abstinence from liipior of any description, from tobacco, and from a meat diet. — Detroit Free Press, Jan. 23, 1892. It was a large and appreciative audience that greeted Remenyi, the famous Hungarian violinist, last night. There were people who thoroughly understood music, and people who did not, and it is safe to say that both were equally well pleased. The lilay- ing of the great artist w.is a revelation, and appealed to the connoisseur and the one who simply loves " fiddling " alike. — Denver, Col., Times, March 22, 1892. The appearance of Mr. Edouard Remenyi in concert last even- ing was one of the most exceptional treats that could have been offered to even the most critical audience. Mr. Remenyi is heralded as the greatest living violin virtuoso, and the claim will be readily conceded, as it would be hyperc: iticism to compare him with any violinist who has visited this country, so thoroughly unique and typical is his playing. Possessing a marvelous com- mand of the merely technical possibilities i>i the instrument, he is able to find exi)ressioiis for all varieties of emotion that the composition and his mood may demand. Mr. Remenyi's inter- pretation of well-known melodies reveals unimagined beauties in the composition, so thoroughly is it clothed with his individuality. — St. Paul, Minn., Pioneer Press, April 13, 1S92. Remenyi, the violinist, received a perfect ovation last evening at the Lyceum Theatre. A good house greeted him, and the enthusiasm was more than proportionate to the numbers. When he ap[)eaied, with the benevolent, clerical air of a priest, his popularity crvstallized in prolonged applause, and at every instant on the stage he rose in favor. It is the personality of the man that charms. His quaint, strong individualism colors every cadence, and makes his .selec- tions more his own creations than those of the composers. His triumph lies m his wonderful power of expression. He is without a rival in his ability to interpret music in a realistic, tangible way that appeals to every one. His violin scolds, sings, weeps, and laughs. The sudden, unexpected change of seiuiment gives brilliant piquancy to his execution. At one nionient the speaking instrument is all tenderness ; at the next it breaks into a witticism, and laughs in trills of contagious mirth. At times his touch is so delicate that the bow seems only to hover like a magic wand above the responsive strings. Every shade of feeling he expresses. — Minneapolis, Mi nu.. Times, April 14, 1892. The only Remenyi spun fairy tales of deligluful music last evening to a crowded and enraptured audience in the Opera House. The audience was fairly entranced with his exquisitely clear and dainty touches, and in respoitse to emphatic recalls he reappeared several times with true bonhomie. Even after respondi.ig three times in succession after his last number, he was compelled to appear twice and bow his .acknowledgments. The programme called for five selections by Remenyi, but before the conclusion the audience had extorted si.t encores, making eleven in all, each idditional number seeming only to add to the enthusiasm.— Ottawa Daily Citizen, Ont., Dec. 31, 1891. J. W. mA^SHBANK* Battitone. Mr. J. W. Marshbank irade the hit of the evening. Ilis ren- dering of I )cnza'.s " Marguc ite " was a treat in the way of ballad singing, and calculated to ]' lease the most exacting critic. As an encore he gave the "Wjlf," confirming the good impression made by his first song. He has a rich, powerful voice of great range, and gives evidence of careful study and a thorough appreciation of his work. — C'/iiiii^a Elite Netus. "Creation." — Mr. J. W. Marshbank made hosts of friends by his beautiful voice and finished rendering of the bass parts. — Chicago Indicator Buck's "Creole Lover's Song," Mattel's " Storyland," and IJecker's " Springtide " were admirably rendered by Mr. J. VV. Marshbank, the baritone. — Chicago Evening Herald. Mr. Marshbank proved him.self possessed of a voice of great volume and more than usual richness and sweetness, with an extended range and remarkably even throughout the entire regis- ter. He sang with taste and expression, and showed the result of careful and judicious training. — Chicago Evening Journal. Mr. J. W. Marshbank made an extremely favo'able impression, singing with great beauty of phrasing. — Chicago Inter-Ocean. The large audience was completely carried away by his line voice in the " Storm Kiend." — San Francisco Chronicle. The Oratorio Society were fortunate in securing the services of J. W. Marshbank for the bass parts of "The Seasons." Mr. Marshbank is entitled to a great deal of praise. He was very satisfactory and a decided acquisition, — San Francisco Call. miHHiE D, aiETHOT, soprano. Pupil of Mme. Mrs. Minnie D. Methot, who has been pursuing her vocal studies in Paris for the last year, and who was well known in Chicago as an accomplished singer prior to her departure for Europe, has just had a public appearance in die French capital. She was received with enthusiastic favor by a critical audience, and plaudits were showered upon her. .So great was her success that she has become the especial favorite of a large class of musical patrons in Paris. — Chicago Evening Post. Mrs. Minnie 1). Mclhot, the charming vocalist, sang, In a most delightful way, several solos. — Chicago Sunday Tribune. Mrs. Methot's first appearance was greeted with rounds of applause, and she completely captivated her auditors. As a vocalist she is especially pleasing. .She sings with remarkable clearness and distinctness, and with charming expression. — Grand Forks Daily Herald. Marches!, Paris. Her voice is a pure soprano of unusual power and sweetness and among Chicagoans a future is prophesied for her. Mrs. Methot is a grand-niece of Theodore Wachl^l, the famous Ger- man tenor. — Chicago Sunday Herald. Mrs. Methot sang with a sweet, pure voice, and rightly merited the cordial applause which rewarded her numbers. — Madison Journal. Mrs. Minnie I). Mjthot has a soprano voice of rare sweetness and beauty, and lier singing last night completely captivated the large audience. Her upper notes are clear and bell-like, and the lowjr notes are full and rounded. — Davenport Tribune. Mrs. Minnie V). Methot of Chicago carried away the vocal honors, and her sweet voice captivated her hearers. — A'ockford Morning .Star. MIiI^E. FIiOHEHCE SAGE, Pianiste. Miss Florence Sage must be quite a revelation to musical yros and even to experts. The least proficient in listening to such a performance as that of .Schumann's music last night realize the beauty of the composition and the genius of the composer, and that the ])layer Is reading very truly the harmonious thoughts of the master. Professional pianists too often embellish their read- ing with their own conceits and freaks. It is pleasant to believe that Miss Sage, thorough and thoughtful student that she is, has '.,"*'•> the taste and ability to give Schumann and all the other great composers on her fine programme as they were or would like to be. — St. I.ouis Clobe-Jhniocrat. The piano recital on Tuesda', night of Miss Florence Sage was a very great success. Miss .Sage might well have been flattered with the large attendance, and more than all with the close atten- tion paid from first to last to a very long programme. The "Cavalry Polonaise," by Chopin, was greatly admii«l, and was, perhaps, the most difiicult of execution of any of the selections — difficult on account of the great strength required in its execu- tion. It Is hardly ever attempted by a woman. The " I'eriictiial Motion," by Weber, re(|ulres great finger power; this was played without a break or any weakenmg from beginning to end. The lieethoven Sonata was remarkably well done, but the beautiful " Stille Llebe," by Jensen, was liked best of all by the majority.— Terre Haute Casetfe. Miss Sage has great power and remarkable brilliancy of execu- tion. She is capable of interpreting the most massive com- positions, and to give them with breadth of tone and boldness of conception. Her performance last night revealed the confidence of the experlenred public performer. From her first appearance on the stage until the last note had died .iway she impressed the audience with the feeling that she was thoroughly prepared for her work, and that she loved it. — Qiiiucy, III., Daily Journal. A German paper ha? the following com|)llmentary notice of Miss Florence S.ige, which we give in free translation : — "The programme last evening at Hauer's Hall w.as drawn from the difficult and excellent compositions of Liszt and Chopin. Miss Sage rendered the rhapsodies from Liszt, three waltzes, and the ' Cavalry Polonaise ' from Chopin in a most excellent style. Miss Sage is highly gifted and cultured in the true sense of the word, and brings out beautiful melodies from the most dllVicuIt char.acter of composition. The sonatas, rhapsodi.s, ballads, and polonaise were executed exquisitely by the young artist." — Chicago Freie Presse (German). The first of a series of historical piano recitals at Pfafflin's Hall, by Miss Florence Sage, a Chicago pianoforte virtuoso, was given yesterday afternoon. She chose for her subjects the two great composers, lieethoven and Schubert, and her rendition of their greatest and most difficult compositions was very bril- Iftint, in particular that of lieethoven's " Moonlight Sonata" and Schubert's "I'o'oialse Melancollque." Her touch is peculiarly delicate and sweet, and was exhibited to good advantage in her rendition of Schubert's " Impromptu." — ludianafolis Journal. The chief charm of Miss Sage is her exquisite touch. This was shown to good advantage In the "Shakspeare Serenade," by l-iszt, which won for her the heartiest applause of the afternoon. The well-known " Concert Etud " by Rubinstein, was exceed- ingly well rendered, while the ally well-known " Polonaise," by Chopin, was given with all the freedom and abandon which it calls for. — Indianapolis Times. %.