Bruno Steindel: world famous cellist

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BRUNO STEINDEL World Famous 'Cellist
SOLO 'CELLIST
WITH THE
CHICAGO GRAND OPERA

FORMERLY SOLO 'CELLIST, CHICAGO SYMPHONY (THOMAS) ORCHESTRA



BRUNO STEINDEL was born in Zwickau, Saxony, where his father was Director of Music.  He began the study of the violin at an early age, and as he progressed in his studies he manifested a strong inclination for the 'cello, to which instrument he devoted his attention.  He was for several years first 'cello soloist of the Philharmonic Orchestra of Berlin.  He was afforded further opportunity to play under such well known masters as Brahms, Tschaikowsky, Strauss, Dvorak, Grieg and Joachim.  Ever since the organization of the Chicago Symphony Orchestra in 1891, Mr. Steindel has held the position of first 'cellist, and through his numerous appearances as soloist has won an unrivaled place for himself in the hearts of the American music-loving public.



A Few Excerpts From Numerous Newspaper Criticisms

Where Dr. Hertz speaks it is for me to keep silence, but I wish to point out a matter of historical interest to all Chicago music lovers.  To this double concerto of Brahms we owe the presence of Bruno Steindel in Chicago today.  In 1892 the late Theodore Thomas sent Max Bendix, then his concert master, to Europe with a commission to engage a first 'cellist.
Mr. Bendix went to Berlin and heard Mr. Steindel, then first 'cellist of the Berlin Philharmonic Orchestra, play the 'cello part in this concerto.  Such was his success that Mr. Bendix engaged him on the spot to come to Chicago.  He came, bringing with him Leopold de Mare, now first horn player of the Thomas Orchestra.
The double concerto, for violin and 'cello, was beautifully rendered by Mr. Becker and Mr. Steindel.  The tone of Mr. Steindel's 'cello is wonderful, and Mr. Becker's efforts also must be warmly commended.  It was a rendition by thorough artists, with no effort at mere virtuoso display—a remarkable realization of the composer's ideals.—

Chicago Tribune.


Bruno Steindel, the solo 'cellist of the Thomas Orchestra, gave his annual recital in Music Hall on Thursday evening, February 12.  The hall was crowded with Mr. Steindel's many admirers, and the concert was a distinct success.  The program opened with the Richard Strauss Sonata, op. 6.  Mrs. Steindel was at the piano and fully shared the honors with her husband.  The andante movement was beautifully played, and Mr. Steindel's large tone showed to good advantage.  The Saint-Saens Concerto followed, and in this number Mr. Steindel did his best work.  In him Chicago has without a doubt one of the best 'cellists on the concert stage today.  He was greeted with hearty applause and responded with several encores.—
Musical Courier.


SYMPHONY CONCERT
Bruno Steindel With His 'Cello Makes a Big Hit With the Audience.


Those who failed to hear Bruno Steindel, the 'cellist of the Theodore Thomas Orchestra, certainly missed a treat.  No 'cellist in this country excels him and his equals have not been disclosed.  He is a brilliant player, who possesses both technique and expression.  So perfectly were his high notes carried that one might easily have supposed that it was the playing of a violinist.  The sweetness of his tones floated out over the audience until breaths were almost hushed in all parts of the big auditorium.  And Steindel wasn't stingy.  Neither did he appear to be conscious of his ability.  The more the audience called him, the better he appeared to play, and when he left the theater to catch his train he expressed regret that he could not play longer.  He appeared to be in his best performing mood and the audience was very responsive.—
Washington Post.



STEINDEL WINS NEW HONORS AS 'CELLO SOLOIST.
Mastery of Instrument in the Twistingly Difficult Passages of the Raff D Minor Concerto Rewarded by Encore.


Bruno Steindel, a shade more serious in mien than during past seasons, was heard in the Raff D minor concerto for 'cello at the public rehearsal of the Theodore Thomas Orchestra yesterday afternoon.  The work itself is not of great musical import, though it has some
 grateful moments and a few bristlingly difficult passages which commanded Mr. Steindel's technical ability to come forth and shine luminously.  In all that pertains to the mechanical, finished side and in his mastery of the resources of his instrument, Mr. Steindel is nearly always infallible.  He combines a luscious tone and temperamental charm with absolute ease of performance and repose, on the one hand, and strength, robust spirit and breadth on the other.—
Chicago American.


Bruno Steindel, the most popular man in the orchestra from the standpoint of the public, doubtless helped to swell the audience to unusual proportions with his solo for violoncello.  Mr. Steindel in the full maturity of his genius has broadened and increased his repertory extensively within the past few years, and his annual appearance with the orchestra is marked this week by his choice of the Haydn concerto in D major, a work in which his sensuous cantalina is heard to greatest advantage.  No themes buried in harmonies here, but melody clearly defined and enhanced in this case by a rich beauty of tone, which come not alone from the bow and fingers but from the heart.  Fondling his big, unwieldy instrument, Mr. Steindel caresses the tone from its strings in a way he has made his own.  The adagio breathed warmth and color and the big cadenza with its double stops gave opportunity for ample technical display.  Mr. Steindel infused just sufficient of his own personality into his playing to give individuality to the performance without detracting from the originality of the composer's ideas.—
Chicago Daily News.


As for Bruno Steindel, it is doubtful if his master at the 'cello exists in the world today.  He was for some years with the Berlin Philharmonics before coming to this country and his musical pre-eminence is recognized over two continents at least.  The 'cello with him has all the range of bass viol to violin.  It seems as if the great master who carved out his wonderful instrument nearly three centuries ago had imprisoned within its shell a score of golden-throated nightingales, and to this day when the stringed bars of their confinement are swept by the wizard's touch these songsters rise responsive and almost burst their breasts with melody.  The expression, the allurement, the subdued harmony and the sonorous majesty of the violoncello were barely understood by local music-lovers before they sat in raptures at the feet of this master.  It was an experience of itself.—
New York Times.



THE STEINDEL CONCERT

Bruno Steindel gave his annual concert at Music Hall, Fine Arts Building, Thursday, February 11.  The popular 'cellist, whose work is too well known to need extended comment, played with all his well known artistic fire and charm, two groups of numbers, including the adagio of Haydn, a new serenade by Rimsky-Korsakow, Arlequin, Popper, Romberg's Andante, Canzonetta by Herbert, Am Springbrumen of Davidoff, and the Concerto op. 33 by Saint-Saens.  Mrs. Steindel played the accompaniments with her customary musical intelligence and skill, and in the playing of the Strauss sonata for piano and 'cello Mrs. Steindel took a very decided virtuoesque stand.—
Musical Courier.


The second selection on the program was Boelmann's Variations Symphonic for 'cello and orchestra.  The work was introduced here last winter by the Belgian 'cellist Gerardy.  Mr. Steindel entered with spirit and enthusiasm into the task he had set himself, and performed it in the eminently finished and satisfactory manner that has long distinguished his work as an artist.  The tone he wins from his instrument is of exceptional sensuous loveliness, and he gave yesterday the composition with a musicianship and artistic honesty superior to those the eminent Belgian 'cellist brought to its performance.—
Boston Tribune.


Owing to the exigencies of newspaper space last Wednesday, reference in these columns to the recital given the evening before in Music Hall by Bruno Steindel was impossible.  The appearances of the eminent resident 'cellist are so rare in recital that they should not go unrecorded, even though comment, save to commend, is unnecessary.  Mr. Steindel has demonstrated repeatedly at the Chicago Orchestra concerts and on other occasions his high worth, both as performer and interpreter, and the listening to him last week for some two hours was therefore but a prolonging and enhancing of a pleasure enjoyed in smaller measure before.  He was in the best of condition, technically and musically, and, assisted by the exceptionally satisfactory accompanying of Mrs. Steindel,
 gave Saint-Saens' Sonata, op. 32; Dvorak's Concerto, op. 104, and two groups of smaller selections with a tonal loveliness, a technical purity and neatness and an interpretative completeness that made the evening memorable as one of high musical enjoyment.—
Chicago Tribune.


Bruno Steindel, a great favorite in Duluth, appeared in a 'cello solo.  His selection was a Concerto, by Haydn, and was played with a purity and beauty of tone and a grace and perfection of technique that roused the utmost enthusiasm.  He was forced to respond to three encores, and played Evening Song, by Schumann, a gavotte by Bach and Am Meer, by Schubert.  The last two numbers were played without accompaniment, and the soft, deep tones of the last number were followed by a stillness that was the highest tribute to the artist's work.—
Duluth Herald.


One of the finest entertainments of a rather brilliant musical season was the recital at Music Hall last evening given by Bruno Steindel, the 'cello virtuoso of the Chicago Orchestra.  Although a frequent performer at private musicales, the public seldom has an opportunity to hear the genial musician, aside from his work with the orchestra.  The recital opened with the Sonata, op. 32, for piano and 'cello, by Saint-Saens, which gave Mrs. Steindel, at the piano, an opportunity to display her ability, the work for the latter instrument being the more prominent.  Mrs. Steindel's interpretation proved so thoroughly musicianly that one regretted the omission of her name as a soloist of the evening.  Equipped with an excellent technic, a firm, sure touch and intelligent musical conception, her work calls forth more than passing attention.  Mr. Steindel's virtuosity was most in evidence in the Concerto, op. 104, by Dvorak, a colorful work, full of technical difficulties, and well adapted to Mr. Steindel's style.—
Chicago Daily News.


To many in the audience the violincello solos of Mr. Steindel were the most enjoyable feature of the concert.  He has been heard here before, and was already a favorite.  Last night he made himself more so, since many had not had the pleasure before.  His selection, the concerto for violincello, B minor, opus 51, by Goltermann, brought forth abundant and appreciative applause and he was compelled to respond with two encores, which were freely and graciously given, being accompanied in both by a harpist.  It is the presence of such artists that makes the Thomas orchestra such a wonderful organization.—
Toledo News Bee.


The concerto for 'cello by Haydn, played by that incomparable artist, Mr. Steindel, is a most graceful work, and Mr. Steindel was recalled again and again and graciously responded to not less than three encores.  The last of these, the Am Meer, by Schubert, in an effective arrangement for solo 'cello, brought tears to many eyes.—
Duluth Tribune.


Of the soloists of the evening it need only be said that they fully sustained the reputations that had preceded them.  Mr. Steindel, the 'cellist, has been heard in Memphis before in times past.  For years his name has been a household word in this country as the master of his instrument.  His many years of connection with the Thomas Orchestra has made him as well known almost as that organization itself.  His important selection last night was a concerto by Goltermann, with andante and allegro movements, that gave him opportunity to display first the breadth of his tone, and, second, the facility of his execution.  He was repeatedly encored and responded generously, his concluding selection being the ever-welcome Evening Star, selection from Tannhauser, with accompaniment of the harp.—
Memphis News.




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