Scan 16
Musical Courier 1891-12-16: Vol 23 Iss 617, 1891
114 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 713. See the scan on archive.org.
1Breitkopf & Härtel,
2AT No. 15 EAST SEVENTEENTH STREET, NEW YORK.
4IT was with great satisfaction that we reported the opening of an American house by Breitkopf & Härtel. The good wishes extended to the young branch of the old firm are being fulfilled. They do a very successful and satisfactory business. In bringing out their novelties they pay special attention to our American market and we find among them a number of English editions of cantatas. Among others there is the "Reformation Cantata," by Albert Becker, which will be performed with a chorus of 500 voices by the Apollo Musical Club, of Chicago, on April 4; also the "Cantata Op. 50," by A. Becker, to be sung at the Cincinnati May Festival. Both the vocal scores now before us are samples of excellent workmanship and we will especially mention as a departure in the right direction the evidence of good judgment as to price. They will be sold at a reasonable figure, the "Reformation Cantata" being placed at $1, and the "Cantata Op. 50," at 75 cents.
6There is, furthermore, Albert Becker's "Sacred Dialogue," a short cantata for solos and chorus, with organ accompaniment, which was recently sung by St. Francis Xavier's College, and will no doubt find many admirers.
8A. Becker is one of the most highly gifted composers. Some of his other works are:
9Op. 16, Mass in B flat minor; op. 27, Adagio, for violin and organ; op. 52, Phantasy for organ.
11(no line here) one of two readings
12Of his songs (op. 4, 6, 7, 8, 13, 14, 15, 48 and 51) a selected number will be published with English words in the near future.
14Another composer whose work Breitkopf & Härtel had the good judgment to add to their catalogue is Edgar Tinel. When last in Europe we had the good fortune to meet this composer of the broad school of Catholic Church music, and to attend a performance of his "Franciscus." There is not now another composer living who could reach such powerful and overwhelming effects in sacred music as Tinel.
16An overture for orchestra alone, "Polyeuct," just published, was performed by Van der Stucken's orchestra on December 13 in the Arion concert. It is a pity that a public performance of this work is not announced yet, but we hope it will soon be presented to us.
18"Lay of the Poppies" (Mohnblumen) is the title of a lyric poem for tenor solo, mixed chorus and orchestra.
20Julius von Beliczay, J. G. Edward Stehle and Emil Dethier are also among Breitkopf's composers. Of Beliczay the "Illustrirte Zeitung" says, under date of October 31: "The last St. Gallen Festival (October 16) has been celebrated in St. Gallen (Switzerland) by a performance of Beliczay's mass in F, which has met with a thorough success under Kapellmeister Stehle's baton."
22Stehle himself and his compositions are well known. His "Vineta" and his "Legend of Saint Cecilia" have been performed in Europe repeatedly, and are now forming part of the concert programs at Mayence, Cologne, Berlin, &c.
24We mention below some of the more prominent publications of the past year:
26VOCAL MUSIC.
28Opera.—"Eddystone," by Ad. Wallnöfer. Composed after a novel by W. Jensen (vocal score, $5), the first performance of which last year in Prague was a great success.
30Songs.—Three books of songs, with English and German words, by the late Otto Dresel (Boston).
31H. Zöllner, director of the New York Liederkranz, op. 54, five love songs (German and English), 8vo, $1.
32H. Loewe, eight "Jugendlieder." Published for the first time (German words). These songs were composed when the great ballad singer was a boy of fourteen, and in their charming, simple and melodious style will be of highest interest to every Loewe admirer.
33Wallnöfer, op. 42. Three songs for mezzo-soprano (English and German), 75 cents.
35Choruses, Operas, &c.—Max Bruch, op. 54. Songs for solos and mixed quartet, from Heine's "Siecentrost," with accompaniment of piano and violin (score and parts, $3.75), especially fit for chamber music and soirées.
36R. Wagner's "Tristan and Isolde." Vocal score, with English and German words.
37Jadassohn, "Singing Tutor" (Gesangschule), English and German text ($1.50).
39INSTRUMENTAL MUSIC.
41A new string quartet in D by C. Reinecke (op. 211, score and parts $9.75), and one by G. Roberti ($4). A selection of arrangements from classic composers for two violins and piano by A. Moffat (from 50 to 75 cents a piece). For violin solo a study work, "School of Velocity," by W. Ruhl, in three books (each $1.50). Another splendid work for violin by Rich. Scholz (op. 3), "Schule des vollständigen Lagenspiels;" a progressive series of studies in all positions ($1.50).
43Violin and Piano.—E. Walter, Cavatine (90 cents). Op. 2, three sonatinas (75 cents). Götz, op. 2, three easy pieces, complete, $1.90. Singly: March, 75 cents; Romance, 40 cents; Rondo, 90 cents.
44For 'Cello.—Canzone, op. 55, by Max Bruch, with orchestra or piano accompaniment (the same also published for violin, alto or clarinet and piano). Two new works for 'cello and piano by Julius Klengel: Op. 26, Six pieces, and op. 27, Caprice in D. A 'cello school by Ph. Roth ($2), who is now a resident of the United States and well known by his "Guide" ("Cello Führer), published some time ago.
46Harp.—An interesting work for chamber music is a new Trio (op. 2), by H. Trnecek, for violin, 'cello and harp. The "Orchester Studien" by Schueker, and those by Tombo are being used by almost every earnest harp student. The latest publication in music for harp is six short studies by W. Posse ($1.25).
48Organ.—A second volume to Habert's "Organ Method" (op. 16), which might be welcome to those who appreciate the merits of the first book.
50PIANO MUSIC.
52Solo.—Kühner, "Etuden Schule." A complete series of etudes of every style and description. Twelve books, each, $1.50.
53Tyson-Wolff, op. 50. Thirty-five "Gesangs Studien." (A pendant to Thalberg's "L'Art de Chanter sur le Piano"). Three books, $1.50 each.
54Schneider, R. L., op. 11. Stretching Studies. Two books, each $1.
55Op. 12. Studies for the Thumb. Three books, each, 75 cents.
56Bach, "The Well Tempered Clavichord," newly revised by R. Franz and O. Dresel. Two books, $1.50. This is the most elegant edition of the "Wohltemperirte Klavier" we have ever seen. It is a real treat for the eye to read such clear, wide spaced and faultless engraving and print like this.
58Four Hands.—J. Armand, op. 7. Two easy sonatinas (without octaves), each, $1.
59H. Hofmann, op. 109. Six duets, "Zum Wiegenfeste." Two books, each, $1.50.
60Two Pianos, four Hands.—J. Knorr, op. 8. Variations and Fugue on a Russian air, $2.50.
61L. C. Wolf, op. 24, Phantasiestück, $2.50.
63"BREITKOPF EDITION."
65On the last page of their catalogue "Breitkopf Edition" we find a collection, "Youths' Library." These are music books nicely bound in blue boards, and well fitted for gifts or presents. We mention especially:
67(no line here) one of two readings
68"Our Favorites" (Unsere Lieblinge), for piano solo, four books……………………………each. $1.50
69The same for four hands……………………………2.50
70The same for violin and piano, three books……..2.50
71The same for bells and piano, three books……..2.50
72The same for two violins……………………………1.50
73The same for harmonium……………………………2.00
74Sunday music, for the piano, arranged by E. Pauer, three books……………………………each 2.00
75Forster, Musical Picture Book, for piano………….1.00
76The same for piano and violin……………………2.00
77Dietel, twelve songs without words, for piano and violin, two books……………………………each .75
78Reinecke, children's songs (English translation from the famous German "Kinderlieder")…………….1.25 one of two readings
79Reinecke, children's songs (English translation from the famous German "Kinderlieder")………….1.25 one of two readings
81The "Breitkopf Edition," in its present appearance, is equal to any of the so-called cheap editions, and includes the best names as revisers of classic music.
83We are glad to see by President Harrison's Message to Congress that German publishers soon will have their works protected from reprint by an agreement now being negotiated between Germany and the United States.
85Eugene Weiner,
87OUR readers will recognize the portrait of Mr. Eugene Weiner, the well-known flutist, an original member of the Philharmonic Club, and to-day its leading spirit, its director. His face is familiar to all who have attended the grand orchestral performances of the Philharmonic Society, Dr. Damrosch and Thomas orchestras. He is not only master of his instrument, but he is also possessed of that musical enthusiasm which, we are sorry to say, has of recent years become so rare. Two years ago, while in Europe, he visited most of our prominent composers, among them Heinrich Hofmann, Dr. S. Jadassohn, Robert Franz, Moszkowski, Nicodé and Godard, who proved their admiration for him and the club by composing some works of great value for them. Mr. Weiner received his musical education through the most prominent teachers in Germany and France, after which he joined the celebrated B. Bilse's orchestra. He afterward started an organization under his own leadership, with which he made a successful tour through France, Italy and Switzerland, receiving marks of distinction from the late Emperor Napoleon III. Mr. Weiner has made himself well known in this country as flute soloist with the Thomas Orchestra and the Boston Philharmonic Club.
89Mr. Weiner has just returned with his club from an eight weeks' tournée through the West and Northwest as far as the Pacific, and many appearances before the public became veritable ovations. Few organizations can boast of the success attained this season by the Philharmonic Club under his direction. The first New York concerts this season take place at Chickering Hall January 5 and March 1.
91In reference to Mr. Weiner's individual performance the New York "Herald" says:
93Mr. Weiner is the best flute player that has been heard in New York for many years. Mrs. Lima di Murska's "Hungarian Pastoral Song," with a flute obligato by Mr. E. Weiner, was likewise one of the musical gems that was warmly appreciated. Mr. Weiner is an artistic flutist. He has a fine embouchure, plays with remarkable delicacy and grace, and both as a soloist and accompanist shows good taste and culture in the management of an instrument that requires unusual excellence to make popular.
95The Louisville "Courier-Journal" publishes the following criticism:
97Mr. Weiner is an artist in every sense of the word; his flute solo was the gem of the evening. We do not remember to have heard a more exquisite treatment of the flute, and his performance upon the zither was of the most artistic character. Mr. Weiner's touch is sympathetic, as his treatment of the flute is entirely finished. We would place Mr. Weiner at the head of his profession in the management of his instrument. We have never heard more limpid sweetness from the sweetest of instruments than was that long drawn out from that magic of his flute.
99Marion S. Weed.
101THE New York Philharmonic Club this season has had the good fortune to be effectively aided in its concert work by the vocalist of the club, Miss Marion S. Weed, a contralto singer who has already succeeded in making a deep impression upon metropolitan audiences.
103There is a good portrait of the young artist on this page, and it will be seen that her art had a forerunner in nature, which has gifted her with charms which she has supplemented by adding to it musical and general culture.
105The tournée of the club added many laurels to those she had previously gained and two enthusiastic criticisms are appended; the first from the Detroit "Tribune" and the other from the Helena "Journal:"
107Someone describes Miss Marion S. Weed, the vocalist, as a "mezzo soprano with a contralto quality," which is as near as one can come to describing her sweet, pure tones. Her greatest charm is the ease with which she sings, and the "Canzone," from Benedict, with flute obligato, called forth an enthusiastic encore. Her other numbers were from Rubinstein and Schubert. They were rendered with much tenderness and in a sympathetic style which added to the charm of her lovely face and figure.
109The club is admirably supported by Miss Marion S. Weed, of New York, whose sweet contralto voice is enhanced by her superb appearance on the stage. It was a genuine disappointment to the audience that she appeared but twice on the program. Nothing more perfect than her rendition of Rubinstein's "Since first I met thee" has ever been heard in Helena. Miss Weed sings in the choir of a Fifth avenue church in New York, and this is her first season on the stage.
111The Manuscript Society Concert.
113THE first public meeting of the Manuscript Society took place at Chickering Hall last Wednesday evening. The program, a mediocre one, was relieved by the orchestral numbers of Mr. Carl Venth, of Brooklyn, a minuet, gavot and tambourine from his suite for horn, harp and string orchestra, and the prelude and march from "Cleopatra;" a suite for orchestra, by J. de Zielinski, of Buffalo, the latter tinged with a rich Oriental coloring, and some songs by Joseph Mosenthal, Frank G. Dossert and Victor Harris and Adam M. Foerster's brilliantly scored Festival March. Mr. W. W. Gilchrist's rondo, from a suite for piano and orchestra was played at a day's notice by Mr. Arthur Voorhis, who naturally failed to make its dreary measures interesting. The singing of the evening was done by Mrs. Carl Alves, Purdon Robinson, a baritone with a voice of beautiful quality, and Mr. Perry Averill. As a whole the program was dull and uninteresting.
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