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Musical Courier 1890-07-02: Vol 21 Iss 541, 1890
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1FOREIGN NOTES.
3—Mr. Howgrave, a young student at Frankfort, has, according to the German papers, achieved great success at concerts given in that city, particularly in Beethoven's E flat concerto and in studies by Liszt, Schumann and Mendelssohn.
5—Mr. Henry Gadsby's new cantata, "The Cyclops," has just been successfully produced at Queen's College, Oxford, England. It is not improbable that the work will be heard at the London Crystal Palace in the course of the next winter season.
7—That energetic young conductor Richard Strauss produced at Weimar, on June 8, for the first time, Alexander Ritter's two one act operas, "Lazy Hans" and "To Whom Belongs the Crown?" both of which met with a most favorable reception.
9—Emperor William II. has sent a copy of the compositions of Frederick the Great to the library of the Dresden Conservatory of Music. Only 100 copies of this edition de luxe of the Emperor's renowned ancestor were printed and then the plates were destroyed.
11—Since the retirement of Joseph Dupont the conductorship of the Brussels Popular Concerts has been placed in commission. Five conductors were tried last year, and during the forthcoming winter Dr. von Bulow, Mr. Colonne, Dr. Hans Richter and Mr. Lamoureux have been retained to conduct one concert each.
13—According to information just received from Munich, annual festival performances are planned for the city of Nürnberg, similar to those at Oberammergau, Brixlegg, Rothenburg, Bayreuth and Salzburg. The first experiment will most appropriately be made with a festival performance of Wagner's "Die Meistersinger von Nürnberg."
15—At the annual general meeting of the Goethe Gesellschaft, held at Weimar, May 31, it was announced that the poet's musical library had been discovered in the Goethe Museum. It contains, besides Zelter's settings of Goethe's lyrics, the MSS. of many Italian compositions, probably also of the song "Solitario bosco ombroso," mentioned in his "Wahrheit und Dichtung."
17—Mr. Saint-Saëns, writing to Mr. Vianesi and the members of the orchestra to thank them for their services on the occasion of "the incomparable fête" offered to him, has overflowed in a torrent of lyric eloquence as follows: "These marvelous interpreters have added to my instrumentation what the voice of a great singer adds to a melody—color and life. If there be better playing anywhere, it can only be in the other world, and I prefer to take this on trust rather than to go and find out."
19—The announcement was officially made by Mr. Irving that Dr. A. C. Mackenzie has consented to write the music for the Lyceum production of Mr. Merivale's version of "The Bride of Lammermoor." The music, it is understood, is not of a very elaborate character, and it consists simply of a prelude, in which the Scottish element of course figures largely, and three entr'actes. The incidental music, it is assumed, will be contributed by another pen, as was indeed done in the case of Mr. Buchanan's "Bride of Love."
21—Mr. Pietro Mascagni, the fortunate composer of the new opera, "Cavalleria Rusticana," which is creating such an unprecedented sensation at Rome, has already received a commission from the publisher, Sonzogno, to write a new opera. Meanwhile Mascagni has been elected an "honorary citizen" of the town of Cerignola, where he is director of the "Filarmonia," and Livorno, his native place, has presented him with a gold medal of honor. "Il Trovatore" says that the new opera is to be founded on the play of "The Danischeffs," which is sufficiently well known in London.
23—Thanks to the newly founded "Société des Grandes Auditions Musicales," the "Beatrice et Bénédict" of Berlioz has at last been produced in France, at the Odéon, on June 5, twenty-eight years after its original production at Baden, August 9, 1862. And now the best French critics find it rather weak, and the audience receives it with a good deal of coldness. The performance under Lamoureux seems to have been good, but the only piece that really delighted the audience was the duet for female voices, already familiar in all concert rooms. The cry now is for "Les Troyens," which it is hoped will justify the reputation of Berlioz as a great French operatic composer.
25—The firm of C. Bertelsmann, of Gütersloh, announces a very interesting publication as about to be issued by them, viz., a collection of the oldest settings of the Passion music, derived mainly from the researches of Prof. Otto Kade, of Schwerin. The settings to be published are thirty-four in number and begin with a work of Jacobus Obrecht, the famous Flemish musician at the end of the fifteenth century. Among other famous writers, works by whom will be included in the collection, are Galliculus (1538), Cyprian de Rore, Orl. Lassus, L. Vittoria, Joh. Walther and Heinrich Schütz. The publication will consist of five or six parts, of eighty pages each, at the very moderate price of 2 shillings a part.
27HOME NEWS.
29—Mrs. Minnie B. Richards, the pianist and teacher, is spending a few weeks of recreation at Cleveland, Ohio.
31—Waverly Hall, on the corner of Myrtle and Waverly avenues, Brooklyn, was filled with a large audience last Thursday evening, the 19th inst. The occasion was a testimonial concert to Mr. W. H. Fitzpatrick, and he had every reason to feel proud of the manner in which his friends greeted him on that evening. Waverly Hall is not very well known as yet, having but recently been built.
33Mr. Fitzpatrick's sympathetic baritone voice has been heard by those assembled there on many occasions, and needs no eulogy.
35Miss Henriette S. Corradi possesses a good soprano voice and shows clearly her artistic training, her brilliant execution, correct intonation and thorough knowledge of her art demonstrating at once the artist and musician.
37Mrs. Helen O'Donnell is a pupil of Miss Corradi and possesses a contralto voice of both beauty and power, and this added to a charming personality and modest stage presence literally "took the house by storm." It is no reflection on the other artists to say that Mrs. O'Donnell carried off the honors.
39Miss Emma Rita's playing on the harp was heartily applauded.
41Mr. Henry Woram, the tenor, has a good, resonant voice and gave great pleasure with his numbers.
43Mr. Frank J. Wilford, an elocutionist of much merit, favored the audience with several recitations and was enthusiastically received.
45Mr. Bernard O'Donnell, the organist of St. Patrick's Church, Kent and Willoughby avenues, was the accompanist on this occasion. To those who have enjoyed his performances on the organ his work on this occasion was no surprise.
47A more-pleased audience has been rarely encountered.
49—A musicale was given on last Tuesday evening and graduation exercises were held on Wednesday afternoon at the Rye (N. Y.) Seminary, Mrs. S. J. Life, principal. The programs, which were admirably arranged and performed under Mr. L. Michaelis' directorship (who is the substitute for Miss Gottschalk, now in Europe on account of ill health), were as follows:
51March………………………………………………………..Mendelssohn
52Trio, "Lift Thine Eyes"………………………………………Mendelssohn
53Overture, "Athalia"…………………………………………Mendelssohn
54"On Wings of Music"………………………………………Mendelssohn
55Rondo, op. 1…………………………………………………Chopin
56"Flower Song"……………………………………………..Gounod
57Polka………………………………………………………..Raff
58Chorus, "Sweet Daisy"………………………………………Curschmann
59Marcia Fantastica…………………………………………..Bargiel
60"It Was Not So To Be"…………………………………….Nessler
61Duo Concertante…………………………………………….Moscheles-Mendelssohn
62Serenade…………………………………………………….Schubert
63Minuet………………………………………………………Moszkowsky
64Songs (by request), 1/4, "Zelleika"………………………..Mendelssohn
651/4, "Sonnenschein"………………………………………Schumann
66Overture, "Rienzi"………………………………………..Wagner
67Misses Stewart, Hasson, Dibble and Maynard.
69GRADUATING EXERCISES, CLASS OF '90—PROGRAM.
70"Les Préludes"……………………………………………..Liszt
71Miss Weaver and Mr. L. Michaelis.
72Prayer………………………………………………………Archdeacon Kirby.
73Salutatory, "The Prologue"……………………………….Edith Spencer Mathews.
74"Possession and Loss"…………………………………….Harriett Annis Brown.
75"Possession and Loss"…………………………………….Florence Elizabeth Wilcox.
76"A Defense of the Newspaper"…………………………….Marie Elizabeth Park.
77Song, Prayer ("Freischutz")……………………………….Weber
78Class History……………………………………………..Mrs. Sara de Lande.
79"A Berkshire Birthplace"…………………………………Myra Stafford Lee.
80"New York in 1690, 1790 and 1890"……………………….Jessie Stilwell Course.
81"Modern Martyrs to the Cause of Improvement," Valedictory…Julie Frances Wilkinson.
82Address…………………………………………………….Rev. John E. Bushnell.
83Presentation of Diplomas………………………………….
84Benediction…………………………………………………
86—Several papers have announced the serious illness of Mr. Gudehus, the tenor engaged for the coming season at the Metropolitan Opera House. A cable received by Mr. Edmund C. Stanton, director of the opera house, states that Gudehus is perfectly well and that these reports are incorrect. The director also announces the engagement of Minnie Hauk for a series of eight performances during the coming season. These performances are to be Mrs. Hauk's farewell appearances in America. It is thought that this artist, being an American born, and having achieved great success in Germany, Austria and France, may prove of special interest to the American public.
88Xaver Scharwenka.
90WRITTEN FOR THE MUSICAL COURIER BY CARL V. LACHMUND.
92"PROBABLY the most eminent work of the kind published lately" was Liszt's remark to the critic after Xaver Scharwenka's B flat minor concerto had been played by a talented young pianist at one of the famous lesson soirées at Weimar, in 1883. Those who have been so fortunate as to hear the composer himself play this brilliant concerto with orchestral accompaniment will readily share the great master's opinion. While in this country Scharwenka's name has become familiar by his much played Polish dances, it was principally his piano concerto that won recognition for his genius in Europe and placed his name in the first rank. To those interested in compositions for two pianos it will be of value to know that the bright and brilliant scherzo of this concerto has been arranged for two pianos by the composer and is published as a separate piece. Later he wrote a symphony in modern style which was played first at one of the Philharmonic concerts at Berlin, and later at most of the symphony organizations in Germany and elsewhere, usually under the composer's direction.
94His chamber works and a list of piano solo pieces are also favorably known. Most of these have appeared at Breitkopf & Haertel's, these publishers having also contracted for his future compositions. Scharwenka is now engaged writing an opera, entitled "Mataswietha," the first and second acts of which were given in the hall of his conservatorium, at Berlin, May 18, and pronounced a great success by critics and friends present. The principal parts were taken by excellent vocalists, among whom were Misses Friede, Asmann, Forest and Messrs. V. Milde, Zarneckow and Robert, assisted by the conservatorium chorus. As a pianist Scharwenka has had great success at his numerous engagements in Germany, England, Scandinavia, Russia and Austria. He is court pianist to the emperor of the last named country, and also the possessor of numerous other titles and royal medals. His style is brilliant, clear and healthy, always striving for the true musical meaning of the work rather than sensational pianistic effects. A thorough master of the different qualities of touch, it is a delight to hear him "declaim" a melody or to hear the exquisite effect he produces by a mere chromatic scale played with the leggiero touch. His conservatorium, organized in 1881, has already brought out excellent concert pianists and ranks among the very best institutions of the kind.
96Scharwenka, Moszkowski and Nicodé are without doubt the most eminent pupils of the deservedly famous Theodore Kullak, and the subject of this sketch is a thorough exponent of this excellent method, which he has broadened by adding numerous original ideas. Unlike some other of the great European instructors, he is always polite and moderate in words and manners when teaching. Consequently the ideas he tries to convey are readily understood by the students. He knows by memory almost everything, and is always seated beside the pupil at a second grand piano, ready to illustrate any of his remarks in regard to touch, phrasing or other points on which he is very particular; while he gives every composer due consideration, he is esteemed particularly as an authority on Schumann. Mr. Otto Lessmann, the eminent Berlin critic and editor of the "Allgemeine Musik Zeitung," was a visitor at several lessons at which the writer was also present, and expressed himself in high terms regarding the master's clear method of teaching phrasing. Scharwenka is comparatively a young man, and socially a great favorite. He has the reputation of being not only one of the brightest and wittiest, but also one of the handsomest musicians before the public. His carriage is rather military and he is very fond of horseback riding. Mrs. Scharwenka is also well known in the cultured circles of Berlin. She is a Russian by birth, and comes from a highly refined family. She speaks English fluently, takes much interest in her husband's art life and is a favorite with the many American students, for all of whom she has pleasant words of sympathy.
98Scharwenka is very proud of his family, full of fun and frequently entertains his pupils with a good story. In matters of art he is serious, and like other great men has marked opinions. In a recent letter he expresses himself forcibly in regard to the numerous "tramp pianists." "It is no gratification to me," he writes, "to go from one town to another, and, because I am paid for it, play a few of the favorite and hackneyed pieces. Others can do that as well, and in my opinion without giving a real treat or serving the interests of art. I should not care to augment this number of tramp pianists. These vain piano dudes think they are doing wonders by making the public acquainted with their 'conception' of the Berceuse or Appassionata. By all means we must again train the public to come to concerts for the love of music and not because it desires to
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