Scan 14
Musical Courier 1891-12-16: Vol 23 Iss 617, 1891
54 lines. Read by computer on 19 September 2026. Printed page 711. See the scan on archive.org.
1"Enough!" moaned the unhappy prisoner at this juncture. "Stop this inhuman torture! Unloose these bonds and I will play for you, though henceforth I must roam the earth an outcast from the Musical Union."
3He played the sonata in E flat with such exquisite feeling that even the wind seemed to die away that the leaves might listen in every spray to the divine harmony. Then, clasping his violin close to his broken heart, he started off down the mountain side and disappeared from sight forever.
5For the first time in the history of the world a fiddler had played for a benefit.
7Paderewski's Piano Compositions.
9Here am I, a German musician, rusticating in old Virginia these last eight years, in Southwest Virginia, the Switzerland of the South, one of the loveliest spots on God's earth, where one might well exclaim with "Mignon" (Thomas', not Goethe's, Mignon) "C'est là où je voudrais vivre, aimer et mourir!" It is true I feed on old recollections, but I never once cast a longing look of regret back to former city life; and the "retinacula urbis," of which Cicero made light, the attractions and wonders of great cities, like New York, London, Paris, Berlin, exercise no alluring power over my simple, rusticated mind, thinking the freedom and independence of charming country life far preferable, thoroughly enjoying plenty of elbow room, reveling in the beauties of nature and drawing inspiration from her never ceasing sources! But when I read the accounts of Paderewski's wonderful achievements on the piano in THE MUSICAL COURIER of November 25, I laid the journal down with a sigh and for the first time during my rural existence I wished I was in New York, solely to hear him; for the vivid eye and ear picture of the great pianist, as drawn in glowing colors by Mr. Huneke in THE MUSICAL COURIER, so far from satisfying my lively imagination, only sharpened my curiosity tenfold and raised in me the strongest desire to make a pilgrimage in the near Christmas vacation to this great prophet in our art and listen to his message and revelations. In Paderewski the composer I have taken a special interest for many years, startled at the outset with the originality, excellence and a particular charm of his compositions. I am not acquainted with his orchestral compositions, but very well with nearly all his piano compositions (except the latest), and with regard to these I beg to protest against the very scanty praise meted out to them by the musical press, and against the lack of appreciation or even recognition by the musical profession. I will maintain that Paderewski is as eminent as a composer for the piano as he is as a virtuoso and artist on this instrument—nay, more so, inasmuch as composing is of greater value than playing, and that he ought to be ranked among the foremost contemporary piano composers, side by side with such masters as Brahms, Grieg, Gade, Jensen, Hiller, Rubinstein, Raff, Moszkowski, Tschaikowsky, Schytte, Nicodé, Godard, Saint-Saëns and Brassin, Sgambati, De Wilm, Huber, &c., and that, young as he is, he promises to accomplish yet greater things!
11How dare I come to the fore as a critic? First, because I am unbiased, never having published a single composition of my own, too proud to swell the immense number of mediocre and inferior composers; secondly, because I have labored fourteen years in America in the cause of good piano music; thirdly, because universality (or versatility) in music is my specialty.
13I am a civilized—I beg your pardon, naturalized—American citizen, and a little self praise after all is so national—natural, I meant to say. I may therefore be forgiven if I boast that I have taken a wider survey of piano composition of all times, schools and nations than perhaps any other of my honored brethren in the musical profession! My lists of graded piano music are the most extensive and complete that have ever appeared in any musical journal. Moreover, one of the leading music sellers and publishers in America once used my written piano music repertory expressly for his orders of stock from Leipsic.
15After this preamble, revénons à Paderewski. In 1887 I mentioned the Theme and Var. op. 11, by Paderewski, in one of those very lists alluded to, and among the compositions of highest and most difficult grade in the classical style; the same year and three times afterward I studied the op. 11 with some of my most advanced pupils, graduates in music. But I have no doubt that I was the first and only teacher then who introduced this admirable composition in his lessons, and I am positive that it never has been on any concert program of public artists in America. This Theme and Var. by Paderewski is superior to any other modern production in this form of composition; it is equal to Mendelssohn's Variations sérieuses, op. 54, and the variations by R. Schumann, op. 13, would probably surpass it in originality of conception and other points of merit, if not that very theme in op. 13, as Schumann himself confesses, had been borrowed from somebody else. (See Schumann's biography by Wasielewski, page 137). If, therefore, originality goes for much, the palm is to be given to Paderewski, whose beautiful theme is original.
17Now, this very Theme varié, op. 11, Paderewski has omitted in the Saturday afternoon concert, November 21, in new Music Hall, although it was on the program, "for some reason or other."
19Was this reason modesty? Not likely. Was it momentary fatigue, for this piece taxes the strength and endurance of the player? Perhaps. Or that he bethought himself then and there that he had better introduce his minor productions first, saving the best for a later opportunity? Very likely. I am not much of a mind reader, but I should not be surprised if this modest composer and amiable artist had been advised by real friends and well wishers to suppress this very piece, his masterpiece, so as not to provoke the ire of the "American composer." Terrible is the green eyed monster envy and jealousy!
21The "American composer," allied to the press, is a formidable opponent. He has, indeed, sense enough to know that he is not qualified to enter the ranks for a tournament with the invincible virtuoso and artist Paderewski; and so he cheerfully applauds until his hands blister, as long as Paderewski does not come too forward on his own ground of "composition!" "American composition," like "home manufacturing," is the cry in these times of tariff policy! The American piano repertory is forever—with a liberal sprinkling of American compositions—Bach, Beethoven; Beethoven, Bach; Liszt, Chopin; Chopin, Liszt; sometimes Schubert, Mendelssohn, Schumann. They are no competitors, "sie stehen zu hoch und hehr!"; but when do we find the names of the above named contemporary piano composers on our artists' programs, and in our teachers' courses? Music, like all sciences and arts, is cosmopolitan; it is the common property (Gemein-gut) of all nations of the civilized world. Music compositions need not, like foreign literary works, translation into the mother tongue; it is a universal language, fitting all tongues. Verily, there ought to be the liveliest exchange of productions of art between the different countries, and, as far as I am aware, the better American compositions for the piano are very favorably received in Europe, but not vice versa, and this conduct of American musicians looks very much like envy and what the Germans call "Brod-neid." There is no mincing the matter. Many geniuses in Europe are constantly adding new and valuable additions to our wealth of excellent piano music; it is a disgrace if they are almost ignored in musical America. It is the paramount duty of us American musicians to look out for every new light which appears on the musical horizon, to keep ourselves "au fait" with all novelties of merit, without prejudice or, worse, petty feelings—testing all and choosing the best. Now, space does not permit me to let every one of Paderewski's compositions here pass the review, or to enter into a detailed criticism and thorough analysis of a single one. Suffice it to mention a few. "Chant du Voyageur," op. 8, No. 3, is a beautiful lyrical bit, suiting a twilight mood; it is touchingly eloquent, with a tender resignation and an ineffable gentleness of suffering. To this "Il Penseroso," the scherzino, op. 10, No. 8, might serve as the "L'Allegro" (sidepiece); it begins in menuet-like rhythm, classical style, in which indeed—like also E. d'Albert, another rising genius—Paderewski excels. In spite of the scherzino title the piece drifts into momentary melancholy, soon, however, dispelled by more lively phrases, and it ends charmingly humorous.
23The Menuet, op. 14, No. 1, might have been written by Haydn' or Mozart, for its captivating, child-like simplicity, grace and naïveté; I prefer it to Mozart's menuet edited by Schulhoff.
25Of Paderewski's masterpiece, the Thème varié, op. 11, I have remarked already that its soulful, plaintive, chant-like theme is entirely original, if originality is the great desideratum. I must confess myself tired of the super critics, who are forever clamoring for originality as the prime requisite of good composition, and for the lack of it sometimes, rejecting what in every other respect is excellent. How is absolute originality possible now, after composing has been going on, even for the piano, for over two hundred years, and as every new composer has to form himself after all his illustrious predecessors as on so many models? The philosopher J. Stuart Mill even dreams exhaustion of the possible combinations of the seven sounds in music! One mind inspires another, not to imitation, but to new creation all its own; emitting beautiful sparks itself it kindles another's flame! Bach drew his inspiration from somewhere; he no doubt with the first parts of his organ Toccata and Fantasie in G minor gave Beethoven the idea for the first movements of some of his grandest sonatas; and also to Mendelssohn for his introductions in op. 14 and op. 22.
27Now, it is true that the Var. II., III. and notably VII. in Paderewski's Thème varié are—in a much improved and developed form—shaped somewhat after the model of the Gavot varié by old Rameau; but does this circumstance detract one whit from their beauty and effectiveness, applied as they are to the improvisation on an entirely original theme? Apart from these three variations the piece contains certain rhythms, modulations and effective manners of varying the theme, which I have never met with anywhere else, and which seem to me absolutely novel and unique.
29After much that is light and graceful the composer strikes a more serious chord in the forcible Maestoso Variation V., relieved again, first by the charming changes (Wechselspiel) hither and thither, Var. VI., and the quaint, humorous Var. VII. and VIII., until he rises to a great height of inspiration, approaching the sublime in the last variations and fugue.
31In the mysterious Var. XI. a brooding storm is gradually surging up and swelling into fury; the wind moans and whistles (Var. XII. glissando) through the broken cloisters and the roofless aisle of a ruined church, such as the scattered Gothic splendors of Holyrood Abbey in Scotland. It is the hour of midnight. The storm wind wakens the dead; the graves emit from their gaping wombs a ghastly crowd of skeletons, who at once seize each other and whirl around passionately in a brief "Danse Macabre" (Var. XIII.) rattling their bones and stamping the rhythm with their bony heels on the stone pavement!
33Suddenly these dancers stop and harken to the long drawn echoes which the howling wind raises from the organ loft, from the ghost of the long departed organ; an awful, solemn, long drawn sound, a voice as if of conscience torturing the condemned souls, bewailing lost innocence, lost religion, lost honor; vices, crimes, guilt committed (Var. XIV.). Then all is adjusted and finds its equipoise in the precise form of the fugue (last variation, a climax, a master stroke of genius not surpassed by the jubilant, triumphant finale in Schumann's var.), calm is restored, new hope awakened; Justice and Mercy throned together side by side in heaven!
35Nay, do not withhold this thy best effort in composition, sweet musician Paderewski! Let us hear it and every one of thy lofty inspirations! Who so able and fitted to introduce and interpret them as the author himself—the master mind who conceived them? Never mind the "American composer;" he must stand or fall by his own merits! There are thousands of musicians and talented dilettantes in America who will neither harden their hearts nor deafen their ears, nor obstruct their mind against the understanding of thy beautiful, ideal tone poems.
37Dr. H. H. HAAS.
39Clara Poole.
41CLARA POOLE is now the best known of all American contraltos, and for several seasons has enjoyed a most brilliant continuous series of successes, such as is seldom achieved by any prima donna. She is easily the most famous and artistic contralto in this country, and the steady stage experience she has enjoyed during the beginning of her career as an operatic star adds to the rare qualities of her rich and sympathetic voice and admirable method an easy grace on the concert stage, which enhances the pleasure of her faultless singing.
43Mrs. Poole is a native of classic Boston, where she studied first with Mrs. Rudersdorff and made her first appearance at the age of fifteen in concert with Camilla Urso and then with Remenyi and Clara Louise Kellogg.
45In 1885 she went to Paris and studied under De la Grange, then to Italy for instruction under the great maestro Giulio Moretti. She sang leading mezzo-soprano and contralto rôles, filling many important engagements, and singing in most of the Italian operas. She received flattering offers from the great baritone, Maurel, to sing Italian opera in Paris, and one from St. Petersburg to sing with the famous tenor Massini, but her previous engagements prevented their acceptance.
47While under engagement for Turin her services were secured as prima donna contralto and mezzo-soprano of the National Opera Company. Mrs. Poole's great success in the leading dramatic contralto and mezzo-soprano rôles of that organization's répertoire is well known.
49At the seventy-fifth anniversary of the Händel and Haydn Society of Boston, in 1890, Mrs. Poole was selected as the representative American contralto soloist for their festival. Mrs. Poole was also the leading contralto soloist for three successive seasons of the Worcester Musical Association, singing in all of their most important works, an honor only before accorded to one other singer, i.e., Miss Anna Louise Cary. This season she has any number of offers and engagements, among which may be mentioned New York, Boston, Brooklyn, Montreal, Philadelphia, Cincinnati, Indianapolis, Columbus as the principal ones.
51Lectures Worth Listening To.—A series of lectures on musical subjects will be delivered during the winter at the Viennese University, viz., on "The History of Opera in Italy and France," by Hanslick; on "The Influence of Antique Art upon the Development of Music," by Max Dietz; and on "Harmony," by Anton Bruckner.
53Sale of Wagner Autographs.—Some interesting letters by Richard Wagner were recently placed under the hammer by the firm of Liepmannsohn, of Berlin, including one dated March, 1847, directed to Josef Kittl, the Prague Capellmeister, who set to music Wagner's libretto "Die Franzosen vor Nizza," and another addressed to Ambros, the eminent music historian, wherein he regrets his inability to produce at the Dresden Hof-Theatre an opera, "Zamora," by Stephen Heller.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.