Marcosson recitals

              Figure

Marcosson Recitals




Sol Marcosson 
Violinist



M
R. MARCOSSON
 combines the rare gift of appealing to the musically cultured with the verity of his art, and of making real and tangible to the layman in his audience something of the beauties and meaning of the music he invokes from his famous violin.  He is gifted with a sympathetic imagination, clear but technical skill and a rare poetic and artistic temperament which manifests itself not only in his admirable interpretation of the classics but in his varied and adaptable talent for modern expression, from the mystic romance of the Scandinavian to the wild uncurbed strains of the Slav or the Magyar.




Mr. Marcosson is a native of Kentucky.  His art was born with him and the first expression of his individuality was in music.  It was in his eighth year that he first appeared before an audience, and his career has been one steady forward march.  From 1887 to 1892 he was in Berlin where he studied in the Hochschule.  He was a favorite pupil of Heinrich de Ahna, and was received into the exclusive class of the great Joachim.  Later he played in Germany, Italy and England, eliciting the most favorable comments from European critics who pronounced him a master of his chosen instrument.  Returning to America he became first violin of the famous old Mendelssohn Quintette Club of Boston, the youngest man who ever held that position, and in the following year he was engaged by the New York Philharmonic Club as soloist for two seasons, arousing genuine enthusiasm wherever he appeared.  Mr. Marcosson has played with great success before various musical clubs of this country, including the National Federation in 1901, and his concerts at Chautauqua Institution are enjoyed by thousands of music lovers from all over the United States.




It has been aptly said of him, 
He is a fine type of intellectual artist, possessing soul, exquisite sensibilities, imagination and musical understanding.  He is no mechanical performer, but a player who thrills with the rare melody he produces from his violin, and he makes others feel because he himself feels all the exquisite and unutterable things that make the soul of music.





Some Recent Notices



BERLIN, GERMANY
—Mr. Marcosson understands how to touch the hearts of his audience.—


Lokal Anzeiger.




BERLIN, GERMANY
—When one watches the play of the bow, the elegant arm and wrist movement, one must say that Mr. Marcosson is a born violin virtuoso.—


Journal.




NEW YORK.
—The tone, quality and intellectual interpretation of the Mendelssohn Concerto showed Mr. Marcosson to be an artist of high rank.—


Musical Courier.




CHICAGO
—There were pleasing solos by Mr. Marcosson.—


Inter Ocean.




LOUISVILLE
—His bowing is a poem of motion.—


Times.




ST. LOUIS
—There is a fluency and grace in his execution that not many violinists possess.—


Globe Democrat.




GALVESTON
—Mr. Marcosson left a glorious impression on the Galveston audience which would hail his return with genuine delight.—


Daily News.




MONTREAL
—Mr. Marcosson is certainly a credit to the western continent.—


Daily Herald.




INDIANAPOLIS
—Mr. Marcosson handles the violin with a tenderness that is only exceeded by its wonderful return of feeling.—


Sentinel.




LOUISVILLE
—There is in his playing the fine fidelity to artistic principles, and above all, unostentatious virtuosity, refined but always impressive, that stamps the true disciple of art.—


Courier Journal.



Figure

MR. SOL MARCOSSON




Mrs. Sol Marcosson 
Pianist



M
MS. SOL MARCOSSON impresses her audience at once with her attractive personality and a remarkable command of the piano.  She is not only a brilliant soloist, but her rare talent and musical culture combined with a sympathetic temperament constitute the necessary qualities in the making of an ideal accompanist.




An honor graduate of the New England Conservatory of Boston, where great success on the concert stage was predicted for her, she went abroad to Weimar and studied with Bernhard Stavenhagen, said to be 
Liszt's truly favorite pupil,
 and later with the famous Barth, court pianist at Berlin.




She is gifted with a touch that is almost masculine in strength when occasion requires and her technique is remarkably brilliant and complete.




Mrs. Sol Marcosson will be remembered by many well-informed musical people as Dorothy Frew, the noted pianist.




St. Louis.
—Mr. Marcosson's numbers were well chosen, showing the power and range of his wonderful instrument.  He is a virtuoso of the first rank.—


“Christian Advocate.”




New York.
—Mr Marcosson wins his audience at once by his brilliant technic and round, full tone.—


“The Music News.”




Akron.
—Mrs. Sol Marcosson proved a great attraction to the large audience and she played the Henselt number and the Scherzetto from Saint-Saens with such perfection of artistry that those thousand women actually invited her to give them some more.—


“Beacon-Journal.”




Cleveland.
—Sol Marcosson's playing received enthusiastic applause, or, better still, a popular ovation.  The Saint-Saens concerto was a splendid vehicle for technical display in the 
Molto Moderato
 movement.  The 
Andante
 was especially appreciated because of the beauty of tone.  The orchestra gave Mr. Marcosson discreet support.  Later, Mr. and Mrs. Marcosson played Wieniawski's 
Russian Airs
 excellently.—


“Leader.”




Cleveland.
—Mrs. Marcosson's playing has so many excellent qualities that it is difficult to say in what she excels.  Her touch is sure, her interpretations are always artistic, and in the most difficult runs and cadenzas blurring is an unknown quantity.—


“Town Topics.”




Boston.
—Mrs. Marcosson's playing is full of animation and feeling.—


“Transcript.”



Figure




A Great Violin



O
NE of the celebrated violins of the world, and certainly one of the greatest owned on this side of the Atlantic, was acquired by Sol Marcosson, the distinguished violinist.  The instrument purchased was Edouard Remenyi's renowned Stradivarius, the 
Titan,
 and the price paid was $4,000.  It is a violin with a history— a violin with a past, and an instrument destined for many years of usefulness.  From the day Remenyi first drew his bow across the strings in South Africa, it was his favorite violin.  In his life nothing could have induced him to part with it.  Many artists longed for the beautiful 
Strad,
 but Remenyi would never sell it.  He had that sentimental and thoroughly artistic attachment for the instrument that all great artists have for great violins.  The instrument is a beautiful specimen of the handiwork of the greatest of all violin makers.  It bears the date of 
1721
, the richest and most fruitful period in the life of the Cremona master.




Mr. Marcosson knew Remenyi well in life.  After his death, on the occasion of a professional trip to New York, the young violinist played on the 
Titan
 for Mrs. Remenyi.  He played the great Hungarian airs with a fervor and a sincerity that carried the widow back to the days of her husband's triumphs.—Musical American.






SOME PROGRAMS
MARCOSSON CONCERTS
Program



Concerto for Violin,
Allegro Molto appasionato.
Andante.
{Allegretto non troppo.
Allegro molto vivace.
Mendelssohn


Scherzo, B minor,


Chopin



Chaconne for Violin alone,


Bach




Polonaise, A major,


Wieniawski




Preislied from Die Meistersinger,


Wagner-Wilhelmj




Hungarian Dance, No. 3,


Brahms-Joachim




Scenes de la Csarda, No. 1,


Hubay





Program





Suite for Violin, III in G major,
{Moderato.
Bourree.
Adagio.
Gondoliera.
Perpetuum Mobile.
Ries


Nachtfalter Waltz,


Strauss-Taussig




Sonate, Le Trille du Diable,


Tartini




Violin—Adagio Pathetique,


Godard




Souvenir de Moscou (Deux Airs Russes),


Wieniawski




Le Cygne (The Swan),


Saint Saens




Airs Hongrois,


Ernst





Program





Sonate for Violin, in A major,


Handel




Polonaise in E major,


Liszt




Concerto in G minor,
{Introduction.
Adagio.
Finale.
Max Bruch


Ballade, op. 43, No. 2,


Sinding




Siegfried Paraphrase,


Wagner-Wilhelmj




Mazourka,


Alex. Zarzicki




Legende,


Wieniawski




Two Hungarian Dances,


Brahms-Joachim





Program





Variations, Serieuses (Folie d'Espagne)


Arcangelo Corelli




Concerto No 2, D minor,
{Allegro.
Romanze.
Finale a la Zingara.
H. Wieniawski



Carnival,


Schumann




Romanze, in F major,


Beethoven




Two Caprices,


Paganini




Au Printemps,


Grieg-Marteau




Playera Zapateado}


Sarasate