![Carreno, Theresa. (1853-1917) [Neruda, Wilma. [Lady Hallé; Wilhelmine Maria Franziska Neruda] (1838 - 1911)] Autograph Letter to Lady Hallé](http://www.schubertiademusic.com/cdn/shop/files/CarrenoALS314.jpg?v=1722187245)
![Carreno, Theresa. (1853-1917) [Neruda, Wilma. [Lady Hallé; Wilhelmine Maria Franziska Neruda] (1838 - 1911)] Autograph Letter to Lady Hallé](http://www.schubertiademusic.com/cdn/shop/files/CarrenoALS315.jpg?v=1722187245)
Carreno, Theresa. (1853-1917) [Neruda, Wilma. [Lady Hallé; Wilhelmine Maria Franziska Neruda] (1838 - 1911)]. Autograph Letter to Lady Hallé. Short letter with friendly content in German, on a card, signed "Teresa Carreno." 26 May, 1902. A scarce letter from the great Venezuelan pianist/composer/conductor/singer to the distinguished Moravian violinist. An interesting association.
"When eight years old she was taken to New York, where she studied with Gottschalk. Four years later, after studies in Paris with Mathias and later with Anton Rubinstein, she embarked on her career. She had particular success in Germany, where she lived and taught for over 30 years. In 1872 she married the violinist Emile Sauret, with whom she played sonatas. Her interest in string music prompted her to write a String Quartet in B minor; most of her other compositions were for piano, mostly in a brilliant style. The marriage was dissolved, and in 1875 she married the baritone Giovanni Tagliapietra, and later spent two years in Venezuela with him, organizing and conducting an opera company in which she also sang. This marriage, too, came to grief, and she reappeared as a pianist in 1889, making a triumphant tour of Europe. In 1892 she married Eugen d'Albert, under whose influence her style changed: from having been an impetuous, almost tempestuous player, she became a thoughtful and profound interpreter. In 1895 the d'Albert marriage came to an end, and in 1902 she married her second husband’s brother, Arturo Tagliapietra. In 1938 her ashes were ceremoniously laid to rest in Venezuela." (Grove Online)
"Perhaps the dominating woman violinistic personality of the 19th century was Wilma Maria Francisca Neruda, subsequently known as Norman-Neruda and Lady Hallé, through her marriages to Ludwig Norman and Sir Charles Hallé. Her career was eminently international, and she was often referred to as 'the woman Joachim' (they played the Bach D-minor Double Concerto together in 1892). So reliable an observer as Flesch said: 'She played wholly in Joachim's spirit...although I could not hear a truly personal note, her playing (in three Beethoven sonatas) left an extraordinary profound impression on me.' Hanslick, too, spoke glowingly of her playing as a child: 'notwithstanding the smallness of her hands,' and Vieuxtemps induced her to be concertmistress for a series of orchestral concerts in London. Neruda's career as a soloist was triumphant, and in later years she organized a successful ladies' string quartet." (Henry Roth, "Violin Virtuosos," p. 310)
"When eight years old she was taken to New York, where she studied with Gottschalk. Four years later, after studies in Paris with Mathias and later with Anton Rubinstein, she embarked on her career. She had particular success in Germany, where she lived and taught for over 30 years. In 1872 she married the violinist Emile Sauret, with whom she played sonatas. Her interest in string music prompted her to write a String Quartet in B minor; most of her other compositions were for piano, mostly in a brilliant style. The marriage was dissolved, and in 1875 she married the baritone Giovanni Tagliapietra, and later spent two years in Venezuela with him, organizing and conducting an opera company in which she also sang. This marriage, too, came to grief, and she reappeared as a pianist in 1889, making a triumphant tour of Europe. In 1892 she married Eugen d'Albert, under whose influence her style changed: from having been an impetuous, almost tempestuous player, she became a thoughtful and profound interpreter. In 1895 the d'Albert marriage came to an end, and in 1902 she married her second husband’s brother, Arturo Tagliapietra. In 1938 her ashes were ceremoniously laid to rest in Venezuela." (Grove Online)
"Perhaps the dominating woman violinistic personality of the 19th century was Wilma Maria Francisca Neruda, subsequently known as Norman-Neruda and Lady Hallé, through her marriages to Ludwig Norman and Sir Charles Hallé. Her career was eminently international, and she was often referred to as 'the woman Joachim' (they played the Bach D-minor Double Concerto together in 1892). So reliable an observer as Flesch said: 'She played wholly in Joachim's spirit...although I could not hear a truly personal note, her playing (in three Beethoven sonatas) left an extraordinary profound impression on me.' Hanslick, too, spoke glowingly of her playing as a child: 'notwithstanding the smallness of her hands,' and Vieuxtemps induced her to be concertmistress for a series of orchestral concerts in London. Neruda's career as a soloist was triumphant, and in later years she organized a successful ladies' string quartet." (Henry Roth, "Violin Virtuosos," p. 310)
Carreno, Theresa. (1853-1917) [Neruda, Wilma. [Lady Hallé; Wilhelmine Maria Franziska Neruda] (1838 - 1911)]. Autograph Letter to Lady Hallé. Short letter with friendly content in German, on a card, signed "Teresa Carreno." 26 May, 1902. A scarce letter from the great Venezuelan pianist/composer/conductor/singer to the distinguished Moravian violinist. An interesting association.
"When eight years old she was taken to New York, where she studied with Gottschalk. Four years later, after studies in Paris with Mathias and later with Anton Rubinstein, she embarked on her career. She had particular success in Germany, where she lived and taught for over 30 years. In 1872 she married the violinist Emile Sauret, with whom she played sonatas. Her interest in string music prompted her to write a String Quartet in B minor; most of her other compositions were for piano, mostly in a brilliant style. The marriage was dissolved, and in 1875 she married the baritone Giovanni Tagliapietra, and later spent two years in Venezuela with him, organizing and conducting an opera company in which she also sang. This marriage, too, came to grief, and she reappeared as a pianist in 1889, making a triumphant tour of Europe. In 1892 she married Eugen d'Albert, under whose influence her style changed: from having been an impetuous, almost tempestuous player, she became a thoughtful and profound interpreter. In 1895 the d'Albert marriage came to an end, and in 1902 she married her second husband’s brother, Arturo Tagliapietra. In 1938 her ashes were ceremoniously laid to rest in Venezuela." (Grove Online)
"Perhaps the dominating woman violinistic personality of the 19th century was Wilma Maria Francisca Neruda, subsequently known as Norman-Neruda and Lady Hallé, through her marriages to Ludwig Norman and Sir Charles Hallé. Her career was eminently international, and she was often referred to as 'the woman Joachim' (they played the Bach D-minor Double Concerto together in 1892). So reliable an observer as Flesch said: 'She played wholly in Joachim's spirit...although I could not hear a truly personal note, her playing (in three Beethoven sonatas) left an extraordinary profound impression on me.' Hanslick, too, spoke glowingly of her playing as a child: 'notwithstanding the smallness of her hands,' and Vieuxtemps induced her to be concertmistress for a series of orchestral concerts in London. Neruda's career as a soloist was triumphant, and in later years she organized a successful ladies' string quartet." (Henry Roth, "Violin Virtuosos," p. 310)
"When eight years old she was taken to New York, where she studied with Gottschalk. Four years later, after studies in Paris with Mathias and later with Anton Rubinstein, she embarked on her career. She had particular success in Germany, where she lived and taught for over 30 years. In 1872 she married the violinist Emile Sauret, with whom she played sonatas. Her interest in string music prompted her to write a String Quartet in B minor; most of her other compositions were for piano, mostly in a brilliant style. The marriage was dissolved, and in 1875 she married the baritone Giovanni Tagliapietra, and later spent two years in Venezuela with him, organizing and conducting an opera company in which she also sang. This marriage, too, came to grief, and she reappeared as a pianist in 1889, making a triumphant tour of Europe. In 1892 she married Eugen d'Albert, under whose influence her style changed: from having been an impetuous, almost tempestuous player, she became a thoughtful and profound interpreter. In 1895 the d'Albert marriage came to an end, and in 1902 she married her second husband’s brother, Arturo Tagliapietra. In 1938 her ashes were ceremoniously laid to rest in Venezuela." (Grove Online)
"Perhaps the dominating woman violinistic personality of the 19th century was Wilma Maria Francisca Neruda, subsequently known as Norman-Neruda and Lady Hallé, through her marriages to Ludwig Norman and Sir Charles Hallé. Her career was eminently international, and she was often referred to as 'the woman Joachim' (they played the Bach D-minor Double Concerto together in 1892). So reliable an observer as Flesch said: 'She played wholly in Joachim's spirit...although I could not hear a truly personal note, her playing (in three Beethoven sonatas) left an extraordinary profound impression on me.' Hanslick, too, spoke glowingly of her playing as a child: 'notwithstanding the smallness of her hands,' and Vieuxtemps induced her to be concertmistress for a series of orchestral concerts in London. Neruda's career as a soloist was triumphant, and in later years she organized a successful ladies' string quartet." (Henry Roth, "Violin Virtuosos," p. 310)