Scan 22
Musical Courier 1891-05-13: Vol 22 Iss 586, 1891
188 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 489. See the scan on archive.org.
1Buffalo May Festival.
2THE following are the programs for the great May festival:
4Wednesday Evening, May 20.
5Boston Symphony Orchestra.
6Mr. Arthur Nikisch, conductor.
7Soloists.
8Miss Clementina de Vere,
9Mrs. Julie L. Wyman,
10Mr. W. H. Rieger,
11Mr. Francis Fischer Powers.
13PART I.
14Overture, "Lenore No. 3"………………………………………Beethoven
15Boston Symphony Orchestra.
16Aria from "Don Carlos"………………………………………Verdi
17Mrs. Wyman.
18Aria, "O tu Palermo," "Sicilian Vespers"…………………Verdi
19Mr. Powers.
20Suite, "Peer Gynt," op. 46………………………………………Grieg
21"Daybreak."
22"The Death of Aase."
23"Anitra's Dance."
24In the Halls of the King of the Dovre Mountains. (The Imps are chasing "Peer Gynt.")
25Boston Symphony Orchestra.
26Mad scene from "Hamlet"………………………………………A. Thomas
27Miss De Vere.
28Minuet of the Will-o'-the-Wisps………………………………Berlioz
29Dance of Sylphs……………………………………………..Berlioz
30Hungarian march…………………………………………….Berlioz one of two readings
31Hungarian march……………………………………………..Berlioz one of two readings
32Boston Symphony Orchestra.
33Songs with piano:
34"Enchantment"……………………………………………….Massenet one of two readings
35"Enchantment"……………………………………………..Massenet one of two readings
36"Dormez-vous?"……………………………………………..Wekertin
37"Heart Fancies"……………………………………………..A. Goring Thomas
38Mrs. Wyman.
40PART II.
41"Eve"………………………………………………………..Massenet
42A MYSTERY IN THREE PARTS.
43Eve………………………………………………………..Miss De Vere
44Adam………………………………………………………Mr. Powers one of two readings
45Adam………………………………………………………..Mr. Powers one of two readings
46Narrator……………………………………………………Mr. Rieger one of two readings
47Narrator…………………………………………………….Mr. Rieger one of two readings
48Festival chorus of 500 voices, John Lund conductor.
50Thursday Afternoon, May 21.
51Soloist, Mrs. Arthur Nikisch. Franz Rummel, solo pianist.
52Grande Polonaise……………………………………………..Liszt
53Boston Symphony Orchestra.
54Aria, "Les Dragons de Villars"……………………………….Maillard
55Mrs. Nikisch.
56"Nikra's Dream"……………………………………………Godard
57"In the Hammock"…………………………………………..Godard one of two readings
58"In the Hammock"…………………………………………Godard one of two readings
59Scherzo Capriccioso…………………………………………..Dvorak one of two readings
60Scherzo Capriccioso…………………………………………Dvorak one of two readings
61Boston Symphony Orchestra.
62Concerto in E flat major………………………………………Liszt
63Mr. Rummel.
64Songs with piano. "Die Quelle"……………………………….Goldmark
65"Florian's song"…………………………………………….Godard one of two readings
66"Florian's song"……………………………………………..Godard one of two readings
67Mrs. Arthur Nikisch.
68Overture, scherzo, notturno, "Midsummer Night's Dream"….Mendelssohn
69and wedding march…………………………………………..Boston Symphony Orchestra. one of two readings
70and wedding march…………………………………………Boston Symphony Orchestra. one of two readings
72Thursday Evening, May 21.
73Soloists, Miss Mary M. Howe, Mrs. Mielke, Mr. E. C. Bushnell.
74Overture, "Oberon"…………………………………………..Weber one of two readings
75Overture, "Oberon"…………………………………………Weber one of two readings
76Boston Symphony Orchestra.
77Aria, "Ocean, thou Mighty Monster," from "Oberon"………..Weber
78Mrs. Mielke.
79"The March to Battle"………………………………………John Lund
80Mrs. Mielke, Mr. Bushnell and male chorus.
81Rhapsody for orchestra………………………………………Lalo
82Boston Symphony Orchestra.
83Bell Song, "Lakmé"…………………………………………..Delibes one of two readings
84Bell Song, "Lakmé"…………………………………………Delibes one of two readings
85Symphony ("Rustic Wedding"), op. 26………………………..Goldmark one of two readings
86Symphony ("Rustic Wedding"), op. 26……………………….Goldmark one of two readings
87Wedding march, with variations—Moderato. Molto.
88Boston Symphony Orchestra.
89Song, "The Nightingale"…………………………………….Alibeff one of two readings
90Song, "The Nightingale"……………………………………Alibeff one of two readings
91Miss Howe.
92"Waldweben," from "Siegfried"……………………………..Wagner
93Boston Symphony Orchestra.
94"Vorspiel und Liebestod," from "Tristan und Isolde"………..Wagner
95Boston Symphony Orchestra.
96Chorale, from "Meistersinger"……………………………….Wagner
97Festival chorus.
99Friday Evening, May 22.
100Soloists, Miss Mary Howe, Miss Mary E. Fox, Mr. W. H. Rieger.
101Symphony poem, "Lancelot and Elaine"……………………….McDowell one of two readings
102Symphony poem, "Lancelot and Elaine"……………………..McDowell one of two readings
103Overture—Fantasie, "Romeo and Juliet"……………………..Tschaikowsky
104Boston Symphony Orchestra.
105"Loveliest Flower"…………………………………………..Price
106Mr. Rieger.
107Solo—"Bird Song," "Pearl of Brazil"………………………..David
108Miss Howe.
109"Siegfried's Passage to Brünnhilde's Rock," "Morning, Dawn and Rhine Journey," from "Siegfried" and "Götterdämmerung"….Wagner
110(Arranged by Dr. Hans Richter.)
111Boston Symphony Orchestra.
112"The Arabian Slave"………………………………………..Shelley one of two readings
113"The Arabian Slave"……………………………………….Shelley one of two readings
114Songs…………. "Ah! 'Tis a Dream"………………………..Hawkey
115Miss Fox.
116Symphony in C minor, No. 5…………………………………Beethoven one of two readings
117Symphony in C minor, No. 5………………………………..Beethoven one of two readings
118Boston Symphony Orchestra.
119Solo, "Echo Song"…………………………………………..Eckert
120Miss Howe.
121Chorus, "To Thee, O Country"……………………………..Eichberg
123Saturday Afternoon, May 23.
124Soloists, Mrs. Nikisch, Miss Campbell, Mr. W. H. Rieger, Mr. E. C. Bushnell.
125Overture and finale, from "Tannhäuser" (Paris version)……..Wagner
126Chorus (Children's).
127Boston Symphony Orchestra.
128Choral, "Our Father, 'tis to Thee"…………………………..Gluck
129Part song, "Sweet Spring Evening"………………………….N. Lincoln
130Solo, duet and chorus, "Sigh, Gentle Gales"…………………N. Lincoln
131Children's Chorus.
132Songs, with piano:
133"In Liebeslust"……………………………………………..Liszt
134"Bon Jour, Susanne"……………………………………….Delibes
135"Fruhlingsnacht"……………………………………………Schumann
136Mrs. Nikisch.
137Solo for flute, fantasia on themes from "Oberon"…………….Demersseman
138Ch. Mole.
139Anthem, "Who is Like Unto Thee"…………………………..E. L. Baker
140Soloists, Miss Margaret E. Campbell, Mr. W. H. Rieger.
141Songs…. "The Old Stone Wall"……………………………..P. A. Schnecker
142"The Two Grenadiers"…………………………………….Schumann
143Mr. Bushnell.
144Largo………………………………………………………..Händel
145For all the violins.
146Songs…. "Favorite Eyes"…………………………………..Newcomb
147"Double Loss"……………………………………………..Helmund
148Mr. Rieger.
149Songs…. Solo and chorus, "My Dear Old Home"…………..Alfred Beirly
150Chorus, "The Banner of the Free"………………………….Brinley Richards
151Part song, "Good Night"…………………………………..Franz Abs
152Children's chorus.
153Overture, "Euryanthe," Boston Symphony Orchestra………….Weber
154Saturday Evening, May 23.
155Soloists—Mrs. Mielke, Miss DeVere, Mr. Dippel, Mr. E. C. Bushnell.
156Symphony poem, "Tasso," Boston Symphony Orchestra………..Liszt
157"Lohengrin's Narrative," from "Lohengrin"…………………Wagner
158Mr. Dippel.
159Aria, "O Lovely Halls," from "Die Göttterdammerung"……..Wagner
160Mrs. Mielke and Mr. Dippel.
161"King Rother," a cantata…………………………………J. Krug-Waldsee
162Miss De Vere and Mr. Bushnell.
163Festival chorus of 800 voices, John Lund conductor.
165The American Composer Abroad.
166BERLIN, April 26, 1891.
167My Dear Mr. Floersheim:
168HEREWITH some more criticisms of my Dresden and Hamburg concerts. You see I have placed Beck's "Scherzo" and Huss' "Romanza and Polonaise" on the program; am so sorry they did not arrive in time for my Berlin concert. Mr. Piening, Concertmeister of the Hamburg orchestra, was thrice recalled after the performance of Huss' work. For the Berlin concert I already had made arrangements with Miss Geraldine Morgan (a New York young lady by birth, and one of the best pupils of Joachim) to play the work, but, alas! it came too late. As Miss Morgan had consented to play without asking any remuneration, I wish to thank her through the columns of your esteemed paper in behalf of the American composer in general, and Mr. Huss in particular. The same generous spirit was manifest in Miss Passekell's and Miss Walker's readiness to assist vocally. As I told you before, both took ill shortly before the concert.
169At Hamburg I had the great pleasure to meet Prof. Henry Schradieck, formerly of Cincinnati; he was highly interested in my efforts in behalf of the American composer, and was especially pleased to hear Beck's "Symphonic Scherzo." Beck at one time was Schradieck's pupil at Leipsic, you know. He pronounced the scherzo "a fine work." The Konzerthaus Ludwig, at Hamburg, where I gave the concert, is the finest hall devoted to popular concerts I have ever seen, built in strict Italian Renaissance and possessed of very fine acoustic properties. I advise all Americans who on landing at Hamburg may have an evening to spare to attend a concert at this elegant place of amusement; musically they will not be disappointed either, for Musikdirektor Laube is a strict disciplinarian and a very capable musician of catholic taste, and his orchestra is the best one I have had under my baton thus far. They played the lengthy and somewhat difficult program after but two rehearsals, and splendidly at that.
170From the criticisms you will gather that, as previously, my conducting was very much liked and admired, even by such as were not in sympathy with the works performed. After my own composition, in addition to the recalls by the audience, I received a "Tusch" by the orchestra. In fact, here as elsewhere, the orchestral members, as well as the audience, were very enthusiastic, although by the end of April both musician and public are rather "season tired," as they call it here. I advise American composers to send their works to the conductor, Herr Musikdirektor Laube, care Konzerthaus Ludwig, Hamburg. Of all the works performed he preferred Gleason's prelude to "Otho Visconti" and Victor Herbert's "Serenade." It will interest you to hear that I have concluded arrangements with Kapellmeister Schröder, of Sondershausen, by which I will conduct at one of the celebrated Loh concerts some time in May. I regret to say that I shall not be able to go to Leipsic this spring, the season being too far advanced. But I hope to perfect arrangements with August Manns for a concert at the Crystal Palace, London, some time in May. In such a case I would have the co-operation of Mrs. Corinne Moore-Lawson, who left a fine impression here by her graceful style and sweet voice. She will sing, among other gems, a song with orchestral accompaniment by Victor Herbert.
171You will pardon me for discontinuing my contributions to your esteemed paper for the time being. As you may imagine, my time was more than occupied with the preparations for my concerts. I shall be pleased, however, to give your readers a summary of the musical life of Berlin as soon as my time will permit.
172Again begging you to please make such use of this semi-private letter as you may deem best, I remain
173Yours very sincerely,
174F. X. Arens.
175P. S.—One important item I must add: The possibility of the Berlin concert—and, through this, that of the others—is largely due to the lively interest Mrs. Boardman, of Cleveland, Ohio, and her brother, United States Minister Hon. W. W. Phelps, have shown in the enterprise. It must also be mentioned that the expense of the Berlin concert was covered by a guarantee subscribed by Hon. Mr. Phelps, Mrs. Boardman, and Mrs. S. A. Kinsley, of Chicago. I wish to thank these parties publicly through the columns of your paper in my own behalf, as well as that of the American composer in general. The expense of the other concerts are being borne solely by your servant,
176F. X. A.
178Pronunciation in Singing—No. IV.
179THE writer honestly desires to write something valuable and fully appreciates the inexcusable waste of the reader's time and patience—and probably loss of respect—if attention strays from the well beaten paths of fact to the trackless meadows of feminine quarrel.
180But this whole question of voice is so serious and, so far, so inadequately answered that unparliamentary modes of arresting attention may be forgivable. The lyric profession now affords almost the sole example of an important interest conducted wholly without business principles, the dealers having no stock in trade. For strict facts and settled laws are substituted trivial, unpoetic notions, some little knacks, or, it may be, sheer complaint and scolding; and such measurers are relied upon to develop the refined and largely artificial tone of artistic singing from the crude, natural voice of the amateur. Does the reader hesitate to credit so sweeping a charge? Let me, then, detail a little high professional nonsense—tragic nonsense, for it wrecks so many young lives.
181A tolerable baritone engaged recently by a small opera company applied to me for lessons. "I think," he modestly affirmed, "you will find me an apt pupil. I caught on to Mr. —'s idea in one lesson." He mentioned a name known to all New York students of voice. "Indeed, and what was that one idea?" "Well," he replied, "you must imagine the tone you are making as going off across a meadow, at the bottom of which is a church; it must go around the church and come back on the other side. I caught on to that in just one lesson."
182Again, the "Boston Globe," about four years ago, published at $1 a line the statement of a voice teacher having a London reputation and now very prominent here that the throat was lined with little hairs and the voice failed so frequently because these little hairs were worn off by bad singing! Another teacher of good repute tells her pupils to get their very high notes by "imagining a flock of birds flying over some distant trees!"
183These reckless charges upon the serried facts of voice production are equaled by my fair assailant's reckless raids. She distinctly states that "vowels formed in the throat" are errors; yet advises her bewildered readers to make the succession of vowels, "a, e, i and oh alike, with the mouth opened the width of two fingers," this being "as simple as saying tar, tea, tie, toe, smiling." Let us first smile ourselves at her giving in the third word a vowel composed of the vowels of the two first words; for "ie" is a combination of "ar" and "ea" as they are sounded in "tar" and "tie."
184But the gentle reader needs but to pull the corners of his mouth into smiling position and undertake to whisper, say or sing oh to find that this vowel's cavity must then be forced back to the throat, as will be distinctly felt; while a natural universally certified narrowing of the mouth's corners will form this overtone resounding cavity in the mouth itself away from the throat. Looking in a hand mirror and smiling amably will do just as well.
185To say that Patti, Sembrich and pupils of Stockhausen sing with "relaxed smiling lips" is an intentional truth and an involuntary whopper. I have heard Stockhausen himself at a few feet distance, also Patti and Sembrich repeatedly. The corners of their mouths are tense and not smiled out of singing shape. The reader has only to essay any of the vowels, oh, aw (awe) or oo, to find that a relaxed, corner spread mouth is unnatural and unpleasing. Every philologist worth mentioning, from Helmholtz to Ellis, gives the rounded mouth with indrawn corners as the form for these beautiful vowels.
186Look at the curious statement that the elder Garcia used the laryngoscope to discover certain vibrations of the vocal bands! It would be just as reasonable to try to count the revolutions in the wheels of Maud S.'s sulkey with the naked eye. Dr. Clarence E. Rice and I made microscopic glasses to enlarge matters, so that, if humanly possible, a chordal vibration could be detected. It is not possible. Harless, fifty years ago, arrived at nearly the same conclusions regarding the falsetto register that Oertel did quite recently. But their stroboscopic experiments were never tried by Garcia; nor did these experiments tell us one word about the different chordal actions in artistic tones and inartistic ones; and consequently they were as valueless as Garcia's for our purposes.
187My reckless friend calmly asserts that her pronunciatory ideas are "identical with those of the great masters of the
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