Scan 8
Musical Courier 1892-02-17: Vol 24 Iss 626, 1892
73 lines. Read by computer on 19 September 2026. Printed page 9. See the scan on archive.org.
1FOREIGN NOTES.
3Boito's "Nerone."—"It is once more announced," says the "St. James's Gazette," "that Boito's 'Nerone' is not only ready for production, but is about to be produced, the Scala of Milan being, of course, the scene of the presentation. The history of the conception and composition of this long meditated, long promised opera would, fully told, possess interest, though of a somewhat melancholy kind. For self torture and general suffering in the process of composition Boito goes far beyond all that was ever alleged, or even imagined, in the case of Meyerbeer, who in thirty years produced four grand operas, each of them a masterpiece. Meyerbeer, though he frequently went to Scribe, his librettist, for alterations and additions, had in the main to keep to the 'word' furnished to him for musical setting. Boito, however, is his own poet, and, writing his beautiful verses with the utmost facility, can at once provide himself with new matter for composition. Other composers of a laborious and self exacting turn of mind rewrite their music, but the composer of 'Mefistofele' rewrites his book as well."
5Tout Comme Chez Nous.—The music that has been performed in the London churches in connection with the death of the Duke of Clarence has afforded a rare opportunity for the ordinary reporter to air his knowledge on the art. Were it not for the sad thoughts which must arise in all minds over this national loss, musicians could not read these accounts without smiling. One choice example from an important London daily we cull for our columns. "In 'I heard a voice from heaven' the voices of the choristers rose in clear unison singing; their shrill treble note seemed to strike against the tracered vaults and then fall again in a shower of multiplied melody. When Sullivan's 'Brother thou art gone before' was sung all present listened with rapt attention to the strains of this magical music. The treble of boyish voices, alternating with the deep notes of a baritone rich and round, was like the music of rushing waters, now climbing over pebbles, now thundering in cascades; for a moment the anthem would rise to a wail and then slowly ebb away in thrilling cadences." With which bathos the reporter evidently felt he had accomplished his task handsomely.—London "Musical News."
7The Intermezzo as a Song.—The instrumental intermezzo from "Cavalleria Rusticana," in addition to being arranged for the piano and usual home combinations for flute, violin and harmonium, can be also had as a soprano or tenor song. After this no one can doubt of the popularity of Mascagni's prize opera.
9The Free Musical Union.—At the last meeting of the "Freie Musikalische Vereinigung" at Sulzer's Musiksaal, 27 Potsdamer-strasse, Berlin, songs of Julius Hey, Theod. Kewitsch, Max Löwengard and Rob. von Hornstein were sung, as well as J. Rosenfeld's trio in C major (op. 27), for piano, violin and violoncello, and compositions of Bungert Smith and Philipp Roth for violoncello were performed.
11"Friend Fritz" a Fizzle.—At Turin and Pesth Mascagni's "Amico Fritz" has failed to impress the public favorably.
13A Conservatory Performance.—The pupils of the Dresden Royal Conservatory gave a successful performance recently at the Residenz Theatre of Mozart's "Nozze di Figaro.".
15"Asrael" a Failure in Munich.—Franchetti's "Asrael" proved a decided fiasco at Munich, in spite of Court Conductor Levi's extra efforts and a gorgeous mise en scène.
17Henschel's "Hamlet" Music.—The suite formed out of the principal music specially composed by Mr. Henschel for Mr. Beerbohm Tree's presentation of "Hamlet" at the Haymarket Theatre, was announced last night (Tuesday) at the London Symphony Concert under the composer's personal direction. At the Haymarket the music was not heard to such advantage, despite the fact that Mr. Tree had increased the orchestra to forty players, owing in great part to the chattering of playgoers in front, and to the noise made by the scene setting behind the curtain. Nevertheless such a work, written as an accompaniment to a play, necessarily loses some of its effect in the concert room. The suite consists of the prelude, the Danish march and the entractes, the rest being merely incidental to the play. Among the music heard at the theatre only is that identified with the ghost, the accompaniments to the play scene, the melodrame which accompanies the "Queen's" description of the death of "Ophelia," and in which occur snatches of "Oh, will he not come again?" "To-morrow is St. Valentine's Day," and other traditional airs, the funeral march (played at the theatre upon the harmonium), some unimportant music for the fencing scene, and, finally, the very brief three part chorus for boys' voices which follows the apostrophe "Good night, sweet prince," of "Horatio." In this chorus it may be added that the theme throughout the tragedy identified with "Ophelia" is heard upon the voice of the second treble, and for the last time.
19The suite is decidedly modern in style; the principal motives are, after the Wagnerian manner, identified with personages or events in the tragedy, but, even apart from its dramatic value, the work has high claims to consideration as abstract music. The prelude, which does not pretend to be in overture form, is founded upon two themes. The first subject is identified with the character of "Hamlet," but at the outset it is irresolute, and it is not until later on that it is heard in its complete form. A gentler strain, which forms the second subject, is that which pertains to "Ophelia;" but here again the theme is not to be heard in its purest form until the delicious entracte at the commencement of the second act. It may be added that in the enunciation of the "Hamlet" motive, the words "To be or not to be" are, apparently, exactly reproduced. The second, or "Ophelia" entracte, is supposed to indicate the heroine's pure and loving nature, and it will by many probably be considered the gem of the work.
21The introduction to the third act is described by the composer as an "interlude," and here we have the "Hamlet" theme in all its vigor. "Hamlet" has at last made up his mind that the play is the thing to catch the conscience of the "King;" but intermingled with the "Hamlet" motive proper may be heard a reminiscence of the "Ophelia" motive, which the composer here introduces by way of warning and of a theme henceforward to be identified with the murder of "Hamlet's" father. The entracte that immediately precedes the fourth act, that is to say, the scene of "Ophelia's" death, is elegiac in character, and is written solely for the strings of the orchestra, reinforced by the drums. This is another beautiful number. The last interlude is a pastorele, Mr. Beerbohm Tree's idea of "Ophelia's" burial place by a smiling and sunlit churchyard. The Danish march has erroneously been spoken of as adapted from national sources. The march itself—the repeats being omitted in the theatre—is, if not strikingly original, undoubtedly effective, the northern characteristics being writ large upon it. In the trio snatches of two genuine Danish airs are employed and the melodies were, it is said, taken from "folk songs" suggested to Mr. Henschel by the Princess of Wales.—London "Figaro."
23Though Scored It Scored No Success.—Saint-Saëns' "Rhapsodie Bretonne," written originally for the organ, but recently orchestrated by the composer, was played recently at a Lamoureux concert at the Cirque d'Été, Paris. The work, however, possesses little attraction and was coldly received.
25Music in Geneva.—Geneva bids fair to be as musical a capital as Brussels. Louis Lacombe's posthumous opera, "Winkelried," with the libretto of Bonnemère, has been put in rehearsal, with Mrs. Laville Ferminet, Mr. Imbert de Latour and Mr. Labis in the principal rôles.
27Again Verdi's "Falstaff."—Verdi has, it is alleged, been talking to an interviewer about his new opera "Falstaff." In the main he corroborates what has already appeared in these columns. The libretto by Boito follows Shakespeare with tolerable fidelity, and the opera, like "Don Giovanni," contains prominent parts for three prime donne. Moreover, the chorus is used very sparingly. These is no male chorus, although four or five singers, friends of "Ford," are employed in the first act, and a female chorus is used only in the last act. In the music Verdi has, he says, endeavored to imitate the old Italian school, although the orchestration will be in a more modern spirit. The opera is entirely sketched, the parts for the singers being indeed written, and Verdi is now leisurely engaged on the orchestral work. The opera will, however, not be ready at any rate before next winter.
29Wagner in London.—Sir A. Harris proceeded recently to Hamburg on German operatic business. In all probability he will engage members of the Pollini troupe, and besides "Siegfried" or "Die Walküre" (the latter for choice) he may also give some performances of "Tristan und Isolde" in German. In the first two works there is no chorus, but if "Tristan" be mounted the complete cast of male chorus and principals will probably be brought direct from Hamburg. Mr. Pollini's troupe, which holds the Hamburg Opera House, is, it may be recollected, that which appeared at Drury Lane under Dr. Richter in 1882.—London "Figaro."
31A Second Suite.—Grieg has arranged a second suite from his music to Ibsen's play "Peer Gynt," and it has been performed with marked success at Christiania, opinions being expressed that it is quite equal to the first suite in attractiveness.
33The London Philharmonic.—The London Philharmonic Society's eightieth season will be inaugurated, on March 10, by a Mozart centenary concert, consisting exclusively of works by the Salzburg master. The dates of the six subsequent concerts are March 24, April 7 and 27, May 11, June 1, and (this a morning concert) June 15. Only three absolute novelties are as yet announced—viz., Dvorák's new triple overture, Miss Dora Bright's second fantasia (in G minor) for piano and orchestra, and Grieg's baritone scena "Die Einsame;" though Max Bruch's third violin concerto, Rheinberger's "Demetrius," and Villiers Stanford's "Queen of the Seas" overtures may be spoken of as comparatively new. The symphonies promised are Beethoven's Nos. 6 and 7, Brahms' in F, Mozart's in G minor, Schumann's in C, and Raff's "Lenore." Among the artists engaged are Mrs. Sophie Menter, Miss Dora Bright, Mr. Joachim, Ysaye, Hugo Becker, De Greef, F. Lamond, and Sapelnikoff. Mr. F. H. Cowen of course retains his place as conductor.
35A New Piano Quartet.—On the 28th ult., at Mannheim, on the occasion of Conductor E. Paur's concert, there was produced for the first time a new piano quartet in B minor by that rising young composer, Mr. Robert Kahn, of that city. The work, which was performed with the composer at the piano, was exceedingly well received, and the Mannheim papers speak of it as a creation of great musical worth and originality. Here is a chance for our chamber music novelty hunters to bring out a work that ought to be heard here.
37Berlin Letter.
39THE AMERICAN COMPOSERS' CONCERT.
41BERLIN, January 31, 1882.
43THE first American composers' concert of this season, under Mr. F. X. Arens' direction, took place last night at the Concerthaus on the Leipziger strasse before a large audience, among whom were the greater portion of the American colony of the German capital. It is a thanks deserving undertaking to introduce American musical compositions in Germany, and the American composer has to thank Mr. Arens for his energy and missionary work in making his efforts known there. Among the audience interested in Mr. Arens' work were, besides the Americans and many fashionable Berliners, the following composers and professors: Max Bruch, Franz Kullak, Julius Hey, Albert Becker (conductor of the Royal Cathedral choir), Oscar Eichberg, Moritz Moszkowski, Oscar Ralf, Sigismund Blumner, Louis Blumenberg, Heinrich Ehrlich and all the Berlin music critics.
45The program was as follows:
47Dramatic overture, "Melponene"……………………..G. W. Chadwick
48Songs … "If thou wert with me"……………………Reginald de Koven
49"Herbstgefühl"………………………………………Ethelbert Nevin
50"Spring" Symphony………………………………….J. K. Paine
51Suite, op. 42…………………………………………..E. A. MacDowell
52Songs … "Thou art like unto a flower"…………….W. G. Smith
53"Mission"……………………………………………..F. X. Arens
54Festival Overture…………………………………….Otis B. Boice
56The first work, Chadwick's dramatic overture, is what it is represented to be, viz., dramatic, besides it is well orchestrated, but it contains neither particularly new nor particularly profound ideas. The songs by De Koven and Nevin, sung by Mr. W. Osborn Goodrich (baritone), are melodious, but hardly original and at times even a trifle monotonous. Paine's "Spring" symphony has a good deal of orchestral color, but is uneven in invention. The second movement and the broad melody in the finale of the work created the best impressions.
58The most pleasing and interesting number on the program was MacDowell's suite, op. 42, a little masterpiece in four short movements. It is music full of glowing life and characteristic style, a masterpiece in every way and worthy of a place on any concert program. MacDowell's work gained the most applause, in which Mr. Arens participated, on account of his masterly conducting of the orchestra.
60The songs by Smith and Arens are both graceful and clever and this can also be said of O. B. Boise's "Festival" overture.
62Mr. Goodrich, the baritone, a pupil of Julius Hey, sang well. His vocal organ shows good volume and his pronunciation is clear. Miss Anna Gray accompanied with taste and the concert house orchestra played with earnestness and precision, albeit the woodwind was a little out of tune.
64The concert was a great success and reflects credit upon Mr. Arens. He will give these concerts also at Hamburg, Dresden, Sondershausen, Weimar, Leipsic, Cologne, Munich, Paris and Vienna.
66PHILIPP ROTH.
68A Request for a "L'Africaine" Matinee.
70A PETITION has been forwarded to this office begging that THE MUSICAL COURIER use its influence with the present management by prevailing upon them to give a matinée performance of "L'Africaine," with the De Reszkés, Lassalle and Lilli Lehmann in the cast.
72Marion Hendrickson Is Singing.—Miss Marion Hendrickson, the soprano, has been singing in many concerts recently, having much success in Westfield, where she sang in "The Creation" under C. Mortimer Wiske, and February 11 at the Mercantile Club, Baltimore, and at the first symphony concert of the Peabody Orchestra, February 6. Her press notices were most flattering.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.