Scan 8
Musical Courier 1891-12-02: Vol 23 Iss 615, 1891
93 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 645. See the scan on archive.org.
1PERSONALS.
3Mendes in Marseilles.—Catulle Mendès, the great French littérateur, recently delivered an enthusiastic Wagner lecture at Marseilles at a concert, the program of which contained some excerpts from the master's works. The music and Mendès were alike well received.
5Rubinstein in Russia.—Rubinstein has temporarily returned from Dresden to St. Petersburg, where he will produce a new cantata for female voices on the occasion of the silver wedding festivities of the Czar and Czarina. It is said that he will spend Christmas in Russia, and that afterward he intends to take up his permanent abode in Paris. The seventh part of his sacred opera, "Moses," he finished this summer at Dresden, and it will shortly appear in print with Barthold Senff, of Leipsic. The eighth portion, an "Epilogue," is also nearly completed. Rubinstein intends to produce the whole work on two consecutive evenings during the coming season.
7Like Father, Like Son.—A son of Ole Bull, about twenty years old, will soon make his début in Paris as a violinist.
9Bazzini's New Concerto.—The venerable maestro Antonio Bazzini has written a new violoncello concerto. It is dedicated to Hugo Becker, and he alone, for the present at least, holds the right of performance of the novelty.
11Grieg in Christiania.—Edward Grieg is in Christiania, where he is superintending the approaching performance of some of his latest orchestral works.
13Van Dyck as Librettist.—The great tenor Van Dyck has written a ballet libretto entitled "Carillons," the music of which will be composed by Massenet, and the novelty will be produced at the Vienna Court Opera by the end of next January, in conjunction with Massenet's "Werther," which does not quite fill one evening.
15A New Vocal Quartet.—Miss Fannie Hirsch, soprano; Miss Pauline Ginsburg, contralto; Mr. William A. Xanten, tenor, and Mr. Albert F. Arveschau, basso, have completed the organization of a quartet for concert purposes. A director will be selected this week. These names are a guaranty of excellent vocal work and the early public appearance of the same will be looked forward to with interest.
17Mrs. Carlos Sobrino.—Mrs. Carlos Sobrino, the wife of the well-known pianist of that name, now residing in Denver, and an excellent dramatic soprano, is at present visiting this city.
19Compliment to Mascagni.—In compliment to Mascagni a new musical paper recently started in Italy has been christened "L'Amico Fritz."
21Verdi May Conduct.—Verdi may possibly conduct one of the concerts given at Vienna in connection with the Musical and Dramatic Exhibition next year.
23Dr. Bruckner.—On the 7th ult. Anton Bruckner, composer of several symphonies, to which Richter has already given a hearing, and two of which have been performed also in New York, was made a doctor of philosophy honoris causâ at the Vienna University. one of two readings
24Dr. Bruckner.—On the 7th ult. Anton Bruckner, composer of several symphonies, to which Richter has already given a hearing, and two of which have been performed also in New York, was made a doctor of philosophy honoris causa at the Vienna University. one of two readings
26Cellist Popper in London.—At St. James' Hall on Wednesday last an orchestral concert was given to introduce Mr. David Popper to audiences in London proper. Mr. Popper played, with Mr. Delsarte, of the Paris Conservatory, and Mr. Edward Howell, his own "Requiem" for three violoncellos, besides a suite, "Im Walde." Mr. Cowen conducted.
28Miss Mandelick's Success.—Miss Alice Mandelick, the noted contralto in the choir of Mr. John White, at Ascension Church, is rapidly making her way to the front among our concert singers. This young lady possesses a magnificent contralto voice, even throughout its large compass and under fine cultivation. She has been engaged by Mr. Mortimer Wisker for a series of important concerts under his direction, and will sing at a number of private musicales during the season. She is a pupil of Frida de Gebele Ashforth and a brilliant future has been predicted for her.
30A Tenor in Trade.—Nourellis, the tenor, who appeared here some years ago, has gone into trade, having opened a music store in Turin.
32Deaths in Boston.—The Händel and Haydn Society, of Boston, lost three members by death last week: John H. Stickney, member for thirty years, and for most of that time attached to the board of government, as director, librarian or vice-president, holding the latter office at his death; Samuel M. Bedlington, chorus librarian for fifty-one years; Mr. Ainsworth, a valued young member. At the regular rehearsal in Bumstead Hall, on Sunday night, the members laid aside the work in hand to close the evening by singing the chorus "Happy and blest are they who have endured," from "Saint Paul."
34A Too Enthusiastic "Faust."—Figner, of the St. Petersburg Court Theatre, was lately so carried away by dramatic feeling in singing "Faust" that he injured the "Gretchen" of the evening when tearing her from the stage. He was fined $120.
36Januschowsky Goes to Germany.—Georgine von Januschowsky has been engaged for a number of star performances at the court theatre in Mannheim. She will appear there in the beginning of 1892 as "Senta," "Fidelio," "Elsa" and "Ortrud," "Valentine," "Elizabeth," &c.
38Who Was There?—After Ignace J. Paderewski had finished his piano recital in the concert hall of the Madison Square Garden on Tuesday night of last week, his manager, Mr. C. F. Tretbar, took him around to Heim's, in Twenty-seventh street, and introduced him to a score of newspaper men from Boston and New York. The Boston critics had come to New York on Mr. Tretbar's invitation. They had listened to the recital, and were full of praise for Paderewski. As the young pianist speaks five languages the Boston people got along with him swimmingly. When he came to shake hands with them, however, they winced, for his grip was like iron. Few athletes have the strength of hand that Paderewski possesses. The company sat down to a supper that was prolonged several hours. Among those present were : Mr. H. M. Ticknor, of the Boston "Beacon;" Mr. T. P. Currier, of the Boston "Courier;" Mr. T. H. Jenks, of the Boston "Transcript;" Mr. Howard, of the Boston "Globe;" Mr. Phillip Hale, of the Boston "Home Journal;" Mr. Hugo Görlitz, Mr. Henry W. Domett, Mr. H. E. Krehbiel, Mr. Henry T. Finck, Mr. W. J. Henderson, Mr. Chester S. Lord, Mr. Reginald de Koven and Mr. Otto Floersheim. Mr. Ben Wolf, of the Boston "Saturday Evening Gazette," and Mr. C. L. Capen, of the Boston "Times," were also present during the early part of the evening, but had to leave for the Hub on the midnight train.
40Miss Lewing's December Engagements.—Miss Adele Lewing, pianist, now residing in Boston, will give recitals this month at Oberlin, Detroit, Columbus, Dayton and a number of Indiana cities.
42Max Bendix's Teacher.—From good authority, it is but justice to Mr. S. E. Jacobsohn to say that Mr. Max Bendix, the eminent concertmaster of the Thomas Orchestra, does not claim to be anyone's pupil but Mr. Jacobsohn's, and he was not a pupil at the high school in Berlin; neither was he of Sauret, but simply played with the latter for pleasure.
44Miss Cotton's New Address.—Miss Gussie Cotton, the young and talented pianist, whose successes have been repeatedly referred to in these columns, is now a permanent resident of Chicago, her parents having removed thither from Shelbyville.
46Seventh Seidl Popular Concert.
48THE following telegram was read to the large audience assembled last Sunday night at the Lenox Lyceum:
50SPRINGFIELD, Mass., November 29, 1891.
51Anton Seidl, Lenox Lyceum, New York:
52Arrived in Springfield in time, but there is no train to New York before evening, owing to Connecticut Sunday laws. You may imagine my grief, but it is not my fault for having missed the golden opportunity to play under your glorious direction and your magnificent orchestra of fine artists. Have wired to Redpath Lyceum explaining my predicament. Shall be only too glad if another date can be arranged.
54REMEYNI.
56So Mr. Remeyni did not play, though many bets were made in the lobbies that the bald headed prophet of Remeyni-ism on the fiddle would turn up at the last minute and give one of his inimitable shows, but he didn't.
58The amended program read as follows:
60Overture, "Mignon"…………………………………………Thomas
61Serenade, for string orchestra (first time)……………………..Moor one of two readings
62Serenade, for string orchestra (first time)…………………Moor one of two readings
63Moderato, allegro con brio, andante religioso, allegro energico.
64"Les Préludes," Symphonic Poem…………………………….Liszt one of two readings
65"Les Préludes," Symphonic Poem………………………..Liszt one of two readings
66Largo (all violins)……………………………………………..Händel one of two readings
67Largo (all violins)…………………………………………..Händel one of two readings
68Aria, "Il Barbere di Sevigia"………………………………..Rossini one of two readings
69Aria, "Il Barbere di Sevigia"……………………………Rossini one of two readings
70Louise Natali.
71Overture, "Hero and Leander" (first time)…………………..Fleischmann one of two readings
72Overture, "Hero and Leander" (first time)………………Fleischmann one of two readings
73Victor Herbert, assistant conductor. Clifford Schmidt, concertmaster.
74Isidor Luckstone, accompanist.
75Victor Herbert played Gervais' "Fantasy" on Schubert's "Désir," and in response to a triple encore gave with exquisite taste "The Swan," by Saint-Saëns. Mr. Galassi sang in his usual vociferous style the "Evening Star," from "Tannhäuser," and "Eri tu" from "Ballo in Maschera." Mr. Galassi also sang an encore. Mrs. Natali sang with artistic finish and remarkable facility the "Rossini" threadbare aria, and had to sing an encore by Tosti.
76The orchestral novelties were both welcome. Mr. S. G. Fleischmann, a native of San Francisco, who has been studying in Berlin for some years past, revealed himself as a young man of decided promise. His overture, thoroughly modern in construction and form, might really be called a symphonic poem. The themes are characteristic and well handled, the composition being romantic in spirit and the orchestration warm in color. The composer knows how to use all the resources of modern instrumentation and his effects are skillfully executed. The many figures in the strings, the several very effective and dramatic climaxes, in fact the whole picture presented in the overture demonstrates Mr. Fleischman to be the possessor of musical imagination and technical resources and rhythmical gifts.
77It should be heard again under more favorable conditions, for though it received very loving treatment at Mr. Seidl's hands it came at the end of a long program when the orchestra was tired out. The Moor serenade is curt, crisp in expression, technically well written, not very original, the first two movements being the best. Mr. Moor has greatly improved, however, in his workmanship and command of detail. There will be no concert next Sunday night.
79The Oratorio Society.
81THE first concert this season of the Oratorio Society brought on one program the combination of the most important and the most beautiful choral compositions which have been written since Beethoven, with the sole exception of Mendelssohn's two great oratorios. The adjective important is the least that could be applied to Johannes Brahms' best work, his "German Requiem," and the epiteton beautiful is the only one that does justice to the third portion of Schumann's "Faust" music. These were the two works interpreted last Saturday night and at the public rehearsal on Friday afternoon, and they drew fairly good sized audiences to the new Carnegie Music Hall. It seems a pity, however, that the lovers of choral music are not more numerous in this city, for a better or more persuasive program could not well be offered.
82The same cannot quite truthfully be said of the performance, although it is willingly acknowledged here that Mr. Walter Damrosch handles a chorus better than he does an orchestra, and that especially the female majority do more satisfactory work under his baton than either the male members of the Oratorio Society chorus or of his own orchestra. The "German Requiem," moreover, lacked in life and energy of interpretation, but the Schumann choruses were sung with somewhat that old time spirit and beauty and sonority of tone in the female voices that used to pervade the Oratorio Society in the times of the dynasty of Damrosch père.
83The soloists were also only partially satisfactory. Miss Clementine de Vere's voice was not quite suited to either the Brahms or Schumann music, but, clever singer as she always is, she made the best of the situation and sang cleanly and musically. Miss Olive Fremstadt, the new contralto, has a vocal organ of much mobility of timbre, but it is only in the lower chest register of sufficient sonority to fill the large new Music Hall.
84Miss Bertha Waltzinger had only very limited opportunities in the Schumann concerted soli to show a truly delightful soprano voice.
85The two gentlemen soloists, Mr. Henry Lincoln Case, tenor, and Mr. Heinrich Meyn, baritone, were in every way below the standard of what might be expected at these concerts; in fact the tenor was quite a pitiful object to listen to.
87A New Cantata.
89"GULNARE; or, The Crusader's Ransom," words by Mrs. Edgar Jarvis, music by Mr. Francesco d'Auria, is a dramatic cantata recently published by I. Suckling & Sons, Toronto. Mr. d'Auria will be remembered as, some eight or ten years ago, conductor of different musical societies and orchestras in New York and Cincinnati, and through his association as conductor with Patti in her operatic tour of America in 1881-2. Since its inception in 1887 Mr. d'Auria has been head of the vocal department of the Toronto Conservatory of Music and he is also conductor of the Symphony Orchestra and Choral Society of the same city. Mr. d'Auria's new cantata, which is scored for three principal characters, "Gulnare," soprano; "The Crusader," tenor; and "Selim," baritone or bass, a chorus of crusaders, sailors and Arabs, and full orchestra and military band, opens with a chorus of crusaders about to embark on their voyage to the Holy Land, followed by a solo in which the crusaders invoke the winds and waves to be favorable to their cause. A storm arises and a chorus of prayer is sung, changing into thanksgiving as the storm lulls. The "Crusader" is taken prisoner by "Selim," a young Saracen chief, whose love for "Gulnare" has met with no return. "Gulnare" nurses the wounded "Crusader" and fall in love with him. An episode is here introduced, being a "sarabande," and Arab prayer. "Selim" attempts to murder the "Crusader," but kills "Gulnare" instead, and the cantata closes with a chorus descriptive of her apotheosis. A striking feature of the music is that it is thoroughly characteristic of the text and as such is a remarkable exemplification of the power of music to express language. Necessarily of a romantic character the opportunities afforded for brilliant orchestral effects are many, and Mr. d'Auria's characterization of the instruments, we are informed, shows a fine appreciation of tonal colors and shades, and a pungent, poetic style of treatment. Especially brilliant features of the work are the "Berceuse" for "Gulnare" and the concluding grand triumphal march for full chorus and orchestra and band accompaniment. The solos also are excellent.
90The work will be given its first public presentation by the Toronto Choral Society during the current season.
92A Musicale.—A number of musical people gathered in the parlors of Mrs. Fairman, the wife of the celebrated American landscape painter, Col. James Fairman, at the Hotel Gladstone, Saturday evening. A trio for three violins was performed by the Misses Fairman and Fred. W. Flint. Miss Louise Gerard sang by special request "Annie Laurie," Miss Flint played a number of selections on her violin, and Albert G. Thies sang "Daddy" and other popular songs.
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