Scan 9
Musical Courier 1891-09-30: Vol 23 Iss 606, 1891
132 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 358. See the scan on archive.org.
1capacity of Mechanics' Hall (nearly two thousand) has been fully tested at every performance, even the morning rehearsals presenting the same solid hall full of listeners as were to be seen at the afternoon and evening concerts.
3The opening of the festival proper (not counting the preliminary public rehearsals) came on the afternoon of Tuesday, the 22d, in the form of an organ, harp and song recital, with the following program:
5Organ solo, Concert Satz……………………………Thiele
6Mr. G. W. Morgan.
7Air, "Ciello e Mar," from "La Gioconda"………….Ponchielli
8Mr. Herbert Johnson.
9* Harp solo, "Autumn," from "The Seasons"………..John Thomas
10Miss Maud Morgan.
11* Cavatina, "Carnival of Venice"…………………Arranged by Benedict
12Miss Laura M. Burnham.
13* Organ fantaisie, themes from "Tannhäuser"………..Morgan
14Mr. G. W. Morgan.
15* Aria, "Pleurs mes yeux," from "Le Cid"………….Massenet
16Mrs. Kathinka Paulsen-White.
17† Trio, for two flutes and harp, from "The Childhood of Christ"…Berlioz
18Miss Morgan, Messrs. E. M. Heindl and Paul Fox.
19* Song, "Patria"………………………………….Mattei
20Mrs. Ada May Benzing.
21* Duet for harp and organ (largo)…………………Oberthur
22Miss and Mr. Morgan.
23† First time in Worcester.
24* First Worcester Festival performance.
26The most notable number was the Berlioz trio—much more suggestive of good old Father Bach than of aught Oriental—but it is quaintly and quietly beautiful, and was played in a way which left nothing to be desired. The Morgans might as well have been eliminated from the program altogether. The vocal contributions to the program were not of sufficient interest to call for extended notice, though each was well enough sung to please the audience. Mrs. Benzing exhibited a contralto voice somewhat remarkable for power and compass, but of rather hard quality in its lower register. With proper training she might take high rank as a singer, if possessed of musical intelligence equal with her voice.
28The evening concert of the opening day was devoted to the production of Bruch's dramatic secular oratorio of "Arminius," with Miss Lena Little, Campanini, and Heinrich Meyn in the solo parts. The society's chorus, well seconded by the admirable orchestra, gave a finely vigorous rendering of the choral portions of the work, which is too familiar to require analysis here. Among the soloists, Campanini, as "Siegmund," the patriotic youth who lays down his life for his country, carried off the palm.
30The signor, if you please, has been studying English with a view to singing oratorio, &c., and this was his first public display of his new accomplishment, so that, naturally, no one felt like smiling when he occasionally turned a into ah, o into oo or brought out the stress on the wrong end of a word. His sure grasp of the dramatic side of the character and his artistic rendering of the music more than made amends for that, and abundant applause greeted his efforts. Miss Little as the "Priestess" made herself known as a finished artist, although some parts of the score are too high for her voice. It was a pleasure to hear her elegant, clear cut enunciation, emphasized by contrast with that of the two foreigners at her side.
32The title rôle of "Arminius," which should (and does, in the score) dominate the whole performance, proved to be in the hands of Mr. Meyn the least satisfactory of all. It pains me to differ with the Boston critics who next morning lauded his singing to the skies. I failed to hear the brilliant and powerful tones and the free delivery of which they spoke. It looks very much as if the gentlemen had made a mental transmutation of the Scriptural query, "Can aught that is good come out of Nazareth?" into "Can anything but good come out of—Boston?" Mr. Meyn does not know how to use the radical sounds of the English language in singing, although he speaks it very well. His voice is veiled instead of free, and at the best not large enough to lend impressive dignity to a part like "Arminius." But never mind, let's "boom" everything and everybody that comes from "our town," whether it be B—n—or some other place.
34Wednesday afternoon was devoted chiefly to orchestral music, with the following program:
36* Symphony No. 4, in D minor……………………..Schumann
37Aria, "O Fatal Gift," from "Don Carlos"………….Verdi
38Mrs. Julie L. Wyman.
39* Two movements from Symphony No. 4, in F minor……Tchaikowsky
40Andante, scherzo.
41* Concerto for violoncello, in A minor, op. 33……..Saint-Saëns
42Mr. Victor Herbert.
43* Scena and aria, "Bella mia fiamma, addio"……..Mozart
44Mrs. S. C. Ford.
45* Suite, "Peer Gynt," op. 46………………………..Grieg
46Daybreak.
47The Death of Aase.
48Anitras Dance.
49In the Halls of the Douvre Mountains.
50* First Worcester Festival performance.
52The festival orchestra was composed of sixty picked men, mostly from the ranks of the Boston Symphony Orchestra. They played this program well from beginning to end. The Tchaikowsky number and the Grieg suite won most favor with the audience, and indeed the former is pretty enough to please anybody. But what a queer ending to the scherzo. Just as you are comfortably leaning back in your chair and thinking how delightful it is, a shimmering arpeggio runs down the strings (not up, like the usual pp ending) and it's all over with.
54As for the "Peer Gynt" suite, after hearing it several times, I must confess that I'm getting tired of it. I offer this confession in much humbleness of spirit and with a deep conviction of deficient musical sense, for those who ought to know say that nowadays the nearer you get to the North Pole the higher you get in music; still—I'm getting tired of it. I know that it has the true Norwegian flavor, that it whispers of the pines and relates the history of the fjords and the glaciers; yet—I am tired of it. And particularly tired of the finale, where all the instruments of percussion get to running amuck at one another. I have been in Africa and the South Sea islands, where they have large bands composed entirely of drums, tom-toms and cymbals (or something equivalent), and they play upon them with a vigor that I am sure would delight Mr. Grieg's heart could he hear them. But I wish that Grieg et id omne genus would leave that sort of music to the black fellows—they enjoy it.
56Victor Herbert's playing of Saint-Saëns' concerto was marked by musical intelligence and a fine command of his instrument, and the two vocal numbers were of equal interest with the rest of the program, which is saying a great deal. Mrs. Wyman has an evenly developed voice of beautiful quality and a truly artistic method, while Mrs. Ford, despite some faults, accomplished what so many singers cannot—the singing of a Mozart aria as it should be sung.
58Wednesday evening's coming was anxiously awaited by many, for with it came the advent of our own really and truly American prima donna, Nordica. Here is the program:
60Overture, "Iphigenia," Wagner's ending………………Giuck
61"Hagar in the Desert," dramatic scenet………………Rubinstein
62Mrs. Carl Alves.
63"Cavalleria Rusticana," intermezzo*…………………Mascagni
64Waltz "Romeo and Juliet"………………………….Gounod
65Mrs. Lillian Nordica.
66"The Repentance of Nineveh,"* a dramatic oratorio….Dr. J. F. Bridge
67Daughter of the King………………………………Mrs. Nordica one of two readings
68Daughter of the King……………………………..Mrs. Nordica one of two readings
69Queen………………………………………………..Mrs. Carl Alves one of two readings
70Queen……………………………………………..Mrs. Carl Alves one of two readings
71King………………………………………………….Mr. Carl Dufft one of two readings
72King………………………………………………Mr. Carl Dufft one of two readings
73Jonah………………………………………………..Mr. Herbert Johnson one of two readings
74Jonah……………………………………………..Mr. Herbert Johnson one of two readings
75* First performance in America. † First time in Worcester.
77The two instrumental pieces were heard with pleasure, and the intermezzo was repeated in answer to prolonged applause, but everybody was keeping at least one eye on the fourth number of the program, which bore the magic name of Nordica. Meantime Mrs. Carl Alves was heard for the first time, and rose to a height of instant popularity by her rendition of Rubinstein's dramatic, difficult, and, if I must tell the truth, unpleasing scenca. There is plenty of scope in the voice part for intense dramatic expression, all the points of which Mrs. Alves faithfully brought out. But the orchestration—well, I suppose Hagar was in a very barren place.
79But now, as the old hymn says, "the long expected hour is come," and upon the stage floats an entrancing vision of lovely woman, long trained Worth gown and flashing diamonds, and from somewhere out of this marvelous combination comes a voice whose first note stills every sound save its own and that of the accompanying orchestra. And when she is done, what a roar of applause! Nothing short of another song will satisfy them; so back she comes and gives the polonaise from "Mignon." Then comes the intermission, and everybody has a chance to catch his breath.
81A ripple of amusement was caused by the appearance at the end of Nordica's song of a monster basket of roses, so large that when the young man had struggled up the steps and deposited it at her feet her only way of egress was completely barred. Nordica seemed somewhat in a dilemma over this tribute, which was altogether too large to be dealt with by a lady in concert costume, but Victor Herbert cut the Gordian knot by rushing forward and, preceding the prima donna, bore the huge trophy triumphantly to the anteroom.
83Dr. Bridge's new oratorio, "The Repentance of Nineveh," received a careful and adequate presentation, but failed to arouse enthusiasm. The general verdict was "learned, but dry," and the vox populi was about right, as it frequently is. The orchestration is skillful and effective—much the best part of the work—most of the choral numbers proving labored and uninteresting. One would naturally expect the opposite of this from the organist of Westminster Abbey, who should certainly know how to treat voices. Some of the solos, notably one or two for tenor, have a natural flow of melody, but these are oases in the desert. The score abounds with skillful contrapuntal work and learned elaboration in the working out of the different themes, but the vital spark of genius is missing. The soloists all acquitted themselves more than creditably. I did not like a habit Mr. Dufft has at times of diminishing a note immediately after striking it. It makes him lose the point of more than one emphatic phrase. But I don't feel like picking flaws in his singing, as his work later in the festival was so excellently done.
85This work was performed as a novelty, but its musical value will hardly ensure its repetition.
87Thursday afternoon was given up chiefly to the works of American composers. First came a mass in C minor, by G. A. Adams, a young musician of the vicinity, recently deceased. This mass was his latest and most important composition, and received its initial performance at this time. It is written in the conventional style, and, while betraying to a certain degree both immaturity of musical thought and lack of technical ability, might be regarded as promising well for the future had the composer's life been spared. Mrs. Walker, Mrs. Wyman, A. L. King and Dr. G. R. Clark assumed the solo parts. To Mrs. Wyman's share fell the most melodious number, the "Agnus Dei," which she gave with much feeling.
89This was followed by a new suite for orchestra (in A minor, op. 42) by E. A. MacDowell. To each of its four short movements is affixed a symbolic title—"In a Haunted Forest," "Summer Idyl," "The Shepherdess' Song," "Forest Spirits." Mr. MacDowell seems fond of the woods. The first movement begins pp, with ghostly mutterings and flutterings, rises and falls through ofttimes strange but never overstrained instrumentation, and finally dies out as it began. The second is charming and quiet; the shepherdess' song is sung principally by the clarinet against a background of muted strings, and the last movement is similar in character to the first, but the spirits are of a brighter and much more cheerful kind. The work is far above the average and, in spite of a hint of Grieg and again of Berlioz, shows much originality and an effective command of orchestral resources.
91The third number was a song by C. Whitney Coombs, "The Heavenly Message." Mr. Carl Dufft's singing of it was so excellent that he was obliged to respond with Lassen's "It Was a Dream."
93After the usual intermission came Victor Herbert's new work, "The Captive," written especially for this festival. The libretto tells in a few short verses how a knight on his way to execution passes beneath the window of a high born maid. She, moved by pity and love (at first sight I conjecture), beseeches his guards to release him, offering to marry him and, presumably, be responsible for his future good behavior. The guards, as usual in such cases, fall in with the idea, but the knight announces that his troth is already plighted and that no amount of vocal or instrumental persuasion can avail to change his heart. And so, faithful to his love, he passes along to his doom. This simple story, which could be told within the compass of a song, Mr. Herbert has magnified to the dimensions of a dramatic cantata. I will not attempt to criticise it, for that could not be adequately done upon only one hearing, and I do not wish to do any injustice to Mr. Herbert, whom I regard as a very able "all round" musician. There is much effective orchestration, a free use of the "Leit motif," some stirring climaxes and a remarkably good funeral march. The vocal parts are of extreme difficulty. Mrs. S. C. Ford took the part of the lovelorn maiden, and Carl Dufft that of the temptation resisting knight.
95This was an afternoon of novelties, every number but Mr. Coombs' song being performed for the first time in public.
97Thursday evening brought out the largest audience of the week, and most of the principal artists in the following program:
99* A Faust Overture………………………………….Wagner
100Romanza, "Eri tu"………………………………….Verdi
101Mr. Del Puente.
102* Aria, from "Samson and Delilah"…………………Saint-Saëns
103Miss Lena Little.
104† "Lohengrin's Narrative," from "Lohengrin"………..Wagner
105Mr. Campanini.
106* Two movements for strings, "Heart Wounds," "Spring"……Grieg
107Aria, "Let the Bright Seraphim," from "Samson"………..Händel
108Mrs. Nordica.
109The trumpet obligato by Mr. P. Müller.
110Solo for violin, "Fantaisie Caprice"…………………Vieuxtemps
111Mr. Franz Wilczek.
112Trio, from "I Lombardi"…………………………..Verdi
113Mrs. Nordica, Mr. Campanini and Mr. Del Puente.
115WAGNER SELECTIONS.
116* "Siegfried's Passage to Brünnhilde's Rock, Morning Dawn and Rhine Journey," "Siegfried" and "Götterdämmerung." (Arranged by Richter.)
117* "Senta's Ballad," from "The Flying Dutchman"………..Mrs. Nordica.
118Violin, "Prize Song," from "Die Meistersinger"………..Mr. Wilczek.
119Prayer and finale, from Act I., "Lohengrin."
120* "Elsa"…………………………………………….Mrs. Nordica one of two readings
121* "Elsa"…………………………………………..Mrs. Nordica one of two readings
122"Ortrud"…………………………………………..Miss Little one of two readings
123"Ortrud"…………………………………………Miss Little one of two readings
124"Lohengrin"………………………………………Mr. Campanini
125"Frederick"……………………………………….Mr. Del Puente one of two readings
126"Frederick"………………………………………Mr. Del Puente one of two readings
127"Henry I."………………………………………….Dr. G. R. Clark one of two readings
128"Henry I."……………………………………….Dr. G. R. Clark one of two readings
129* First time in Worcester. † First Worcester Festival performance.
131The audience was a pretty sight. Full dress is the custom for "artists' night," and this with the flutter of a thousand fans of all colors made the hall look—as a poetic local scribe put it—"like a great bank of tropical flowers." A description in detail of these familiar numbers is unnecessary. Del Puente set the people wild with his magnificent singing both in his chosen selection and the inevitable "Toreador" which followed. Nordica repeated her triumph of the evening before, and everybody else got their full share of appreciation and applause. The audience was extremely enthusiastic and prolonged the generous program to an uncomfortable length by encoring pretty nearly everything and everybody.
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