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Updated: June 27, 2025
The fashion of inept fantasias and acrobatic variations has, it is true, gone by; but of late years virtuosity has returned in an offensive way, and, sheltering itself under the solemn classical name of "concertos," it usurped a place of rather exaggerated importance in symphony concerts, and especially in M. Chevillard's concerts a place which Lamoureux would never have given it.
"It's a little money, anyhow. And then remember Dick Lamoureux?" "Yes." "Got a letter from him right after I came back from St. Louis. Well, he's got a big job with the American Express in Paris European Advertising Manager or something like that he's been crazy to have either of us come over ever since that idea of the three of us getting an apartment on the Rive Gauche fell through.
If Lamoureux had not the qualities which give Richter and Mottl their pre-eminence, he had qualities which they do not possess, and his playing had qualities which one cannot find in theirs. If he had not absolutely a genius for music, he certainly had a genius for attaining perfection in all he did, which was perhaps the next best thing.
Her talents as a pianist have won public hearings for her in London, Berlin, Leipsic, and many other cities besides her native Paris. She has been especially in demand for the performance of her own concerto, which has been given in the Gewandhaus and London Philharmonic concerts, as well as those of Lamoureux and Colonne in Paris.
We can only inform them, on Belle Brittan's authority, that worthy Dr. Charles Mackay, who suffers throughout the book from intermittent nay, chronic attacks of puffery, is "one of the best living poets of England"; Mademoiselle Lamoureux, the danseuse, is "better than Ellsler"; and pretty Mrs.
The progress of the musical public was singularly rapid: hardly had they explored the rich treasure-house of Berlioz's music than they were making discoveries in the world of Wagner. And in that world they needed a new guide, who had intimate knowledge of Wagner's art and of German art in general. Charles Lamoureux was that guide.
And, like M. Colonne, he has brought the great German Kapellmeister among us Weingartner, Nikisch, and Richard Strauss, the last mentioned having directed the first performance in Paris of his symphonic poems, Zarathustra, Don Quixote, and Heldenleben, at the Lamoureux concerts.
So far as the mere notes are concerned, the Englishmen who played for the German conductors acquitted themselves quite as well as the Frenchmen who played for Lamoureux.
Since then all sorts of other schemes have been tried by Viollet-le-Duc, Guimet, Lamoureux, Melchior de Vogüé and Julien Goujon, Gabriel Parisot, Colonne and Milliet, Deville, Lagoanère, Corneille, Gailhard, and Carré; but none of them achieved any success. At the moment, a new attempt is being made; and this time the thing seems to show every sign of being a success.
Now I do not mean by this that the orchestras on which Richter and Mottl performed played many wrong notes, while the Lamoureux orchestra played none; and still less do I mean that Lamoureux got finer results than Richter or Mottl.
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