Scan 8
Musical Courier 1892-03-02: Vol 24 Iss 628, 1892
103 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 9. See the scan on archive.org.
1ever, the stern fact became at once apparent that his retirement from public activity should now no longer be regarded as a source of deep regret. In appearance he has changed but little since he bid farewell to the public of New York that has so warm a place in his affection; the beard has grown considerably whiter, but he still has the same erect carriage and is still the same type of splendid virility.
3The orchestra, under Professor Klindworth, gave a slovenly and disgraceful interpretation of the score, and when, in a conversation with one of the leading critics of Berlin, it was suggested that such a performance at an important concert would be practically impossible in New York the only answer forthcoming was: "And do you suppose we approve of it in Berlin? Nor is that the worst, for in spite of the large sum taken in by the sale of tickets not a pfennig will go to the fund, as it will all be eaten up by expenses for rehearsals!"
5Of the "Eccentric Doctor's" various recent escapades his quarrel with Wolff à cause de Joachim, his intention to conduct no more concerts in Berlin and his apostrophizing the public as Unmusikalische Volk, you have undoubtedly heard ad nauseam in America. And now suddenly appears a rival for Bülow, if not in the field of so-called eccentricities at least in that of brilliant cleverness in which among musicians he has for many years held a position quite by himself. Moritz Rosenthal, the eminent virtuoso, well remembered from his American successes of three years ago, and one of the few artists who has attracted the special attention of Berlin concert goers during the past two winters, has by a letter just published in Fritzsch's "Musikalisches Wochenblatt" given proof that he can take it up at any time with the witty doctor in sharpness of repartee and piquancy of wit.
7By a succession of untoward circumstances Rosenthal had drawn down upon himself the wrath of no less a critical authority than Heinrich Ehrlich, who, after praising him unconditionally on the occasion of his first appearance, subsequently, at the instigation, it is said, of an older rival, completely changed his attitude, displaying such bitter antagonism that even his editor in chief became convinced of his malicious bias and turned this year's Rosenthal concerts over to another critic. The effect on Ehrlich may well be imagined, though the imprudence that led him to write an exceedingly compromising letter to Fritzsch's Leipsic paper can, on the part of so clever a man, hardly be understood. Rosenthal was to appear shortly in Leipsic, and Ehrlich wrote to Fritzsch requesting him to publish, and also to induce other papers there to publish, a statement as to the much heralded virtuoso's status which, it may be imagined, had not been conceived nor written in an altogether friendly spirit. Unfortunately for Mr. Ehrlich (whose name has at all times been an easy subject for the wit of even his dullest enemies) the editor of the "Wochenblatt" in no way received his communication in the spirit expected, but promptly printed it verbatim as a foot note to a criticism of Rosenthal's unprecedentedly successful performance of Chopin's E minor concerto at the Gewandhaus, "in order to spoil Ehrlich's pleasure once for all in attempting such dirty manoeuvres against any colleague who might not have won his favor."
9At the same time Mr. Fritzsch placed the columns of his paper at the disposal of Rosenthal to make whatever further rejoinder he might see fit. The letter of Ehrlich, which was printed in the number of the "Musikalisches Wochenblatt" published on February 5, may be recommended to the attention of every reader as a unique example of the methods pursued by German music critics, while Rosenthal's reply, published on the 12th, may well be classed among the wittiest and cleverest literary products of the tone world.
11WILLIAM VON SACHS.
13Music in Vienna.
15VIENNA, February 8, 1892.
17TO-DAY the Philharmonic Society, under the baton of Hans Richter, gave the following program: "Esclarmonde" suite for orchestra (new)………………… Massenet Rhapsodie for piano and orchestra, op. 65 (new)………………Ig. Brüll Piano part performed by Ig. Brüll. one of two readings
18TO-DAY the Philharmonic Society, under the baton of Hans Richter, gave the following program: "Esclarmonde" suite for orchestra (new)………………… Massenet Rhapsodie for piano and orchestra, op. 65 (new)……………… Ig. Brüll Piano part performed by Ig. Brüll. one of two readings
20Symphony, D major, No. 4 (composed in 1786)………………J. Haydn one of two readings
21Symphony, D major, No. 4 (composed in 1786)……………… J. Haydn one of two readings
23The above program was well selected and well performed. Special praise must be bestowed upon the Brüll number. The Haydn number is one of the symphonies which was composed for Paris in 1786. The orchestra was in its usual fine form.
25In the evening the Rosé Quartet gave a chamber music recital, at which a quartet of the Stelzner system instruments was played upon. The program was as follows:
27Romanze from the quartet op. 27……………………………Grieg Air from violin concerto…………………………………….Goldmark one of two readings
28Romanze from the quartet op. 27…………………………… Grieg Air from violin concerto……………………………………. Goldmark one of two readings
30Arnold Rosé.
32Cavatine for violin, viola, violotta and 'cello………………Stelzner (Dr. Stelzner playing the violotta.) one of two readings
33Cavatine for violin, viola, violotta and 'cello……………… Stelzner (Dr. Stelzner playing the violotta.) one of two readings
35"Spring Thoughts," for viola……………………………….Bachrich S. Bachrich. one of two readings
36"Spring Thoughts," for viola………………………………… Bachrich one of two readings
38Choral, arranged for two violins, viola, violotta and 'cello……..Bach one of two readings
39Choral, arranged for two violins, viola, violotta and 'cello…………. Bach one of two readings
41Romanze for 'cello…………………………………………..Ries one of two readings
42Romanze for 'cello…………………………………………….. Ries one of two readings
44R. Hummer.
46Menuet and fugue from the quartet op. 59, No. 3………….Beethoven one of two readings
47Menuet and fugue from the quartet op. 59, No. 3…………. Beethoven one of two readings
49The Quartet Rosé—which comprises the following: Arnold Rosé, first violin; A. Siebert, second violin; S. Bachrich, viola; R. Hummer, 'cello—is a favorite with the Viennese public; in fact it is considered as one of the best quartets with the celebrated Hellmesberger Quartet. This evening's recital was principally to bring before the public notice the new system of bowed instruments invented by Dr. Alfred Stelzner, of Wiesbaden, Germany. The first number of Grieg was very well performed, the shading and coloring being magnificent. The second number from Goldmark was performed by Arnold Rosé in a most charming manner. Rosé is considered as one of Vienna's best violinists. He is soloist in the opera orchestra. The Stelzner number is a composition merely to show the power of the instruments of his invention more than for the musical part of it. In this number only instruments of his (Stelzner's) system were used (violin, viola, violotta and 'cello). The fourth number on the program is a somewhat brilliant composition in the gavotte form, and brought forth considerable applause. Its composer and performer, S. Bachrich, is professor of violin in the conservatory.
51The 'cello solo performed by R. Hummer was very good. He is a virtuoso of considerable fame and well known in Vienna.
53It is not out of place here to give the reader a few words about this new instrument called the "violotta" (thick viola), invented by Dr. Alfred Stelzner, of Wiesbaden. This new instrument is in size the same as the ordinary viola, the only difference being that it is a little thicker. It is played the same as the violin or viola and is tuned exactly one octave lower than the violin. It is between the viola and 'cello. Its tone closely resembles that of the viola. The music for the same is written in the violin clef. The other instruments built after this system were a violin, viola and 'cello. The instruments performed on this occasion, although quite new yet, had a most agreeable and powerful tone. The violin is but four months old, the viola seven months, the violotta four months old and the 'cello, three months. After a little age and more use these instruments, according to the system, will become improved. In one of my future letters I will give a full description of the "violotta" and of the entire system according to the theory of Dr. Stelzner. Among those present were several well-known composers, musicians and critics. Dr. Johannes Brahms was also among the audience.
55This evening at the opera "Manon," by Massenet, was given.
57CHARLES LÉGER.
59Dvorak's "Requiem Mass."
61DVORAK'S masterly if not convincingly religious requiem mass was given for the first time in America last Wednesday afternoon in public rehearsal and last Thursday evening at St. George's Church in Stuyvesant square. The work was given under the able conductorship of Richard Henry Warren, who conducted an orchestra of sixty-five and the Church Choral Society. The soloists were Clementine de Vere, soprano; Emily Winant, contralto; James H. Ricketson, tenor, and Emil Fischer, bass. Messrs. H. W. Parker and Wm. S. Chester presided at the organ. The work as a whole is very strong and shows Dvorak's supreme mastery in the art of orchestration and choral writing. While Slavonic coloring abounds the writing is severe to simplicity. The climax in the "Dies Irae" is most impressive and the "Agnus Dei" is beautiful music. Dramatic rather than religious must be the verdict pronounced on the composition, which should certainly be repeated in the near future. The performance throughout was smooth and reflects great credit on Mr. Warren. The mass is published by Novello, Ewer & Co.
63Communication.
65Editors Musical Courier:
67YOU no doubt have seen by the report of Dr. Dewey, the regular correspondent of the New York "Herald," that the cablegram reprinted in your issue of February 3 was nothing but a fake. No string suite of Mr. Schenck, "nephew of the late American minister, Mr. Pendleton," was played, but in its stead, as "one of the features," MacDowell's suite, op. 42, had its initial performance in Europe.
69Professor Urban assisted at the concert, not as conductor, but as music critic of the "Vossische Zeitung," and I might add right here that he says some very nice things about the "earnestness of thought, purity of perception, solidity of technic, as well as of the ideal tendencies to be found in the American composers."
71The fake referred to also appeared in the Paris edition of the New York "Herald," and for a while the musical members of the Berlin colony were quite exercised over what they considered the "smart" work of a "very smart" correspondent. I think Mr. Bennett ought to decorate the smart "young man" with a leather medal.
73Thanking you for giving space to the above,
75I am yours as ever, F. X. ARENS. one of two readings
76I am yours as ever, one of two readings
78F. X. ARENS. one of two readings
80CHARLOTTENBURG, February 10, 1892.
82The M. P. U.—The Musical Protective Union and National League of America will hold a convention in New York next month. One of the features of the gathering will be a banquet at Delmonico's on March 18.
84HOME NEWS.
86Dr. Hanchett's Lectures.—Dr. Henry G. Hanchett has recently commenced a course of illustrated lectures at the Metropolitan College of Music on "Musical Analysis and Criticism," the illustrations being provided by the lecturer himself on the piano. The first lecture was delivered on Friday afternoon, February 5, and commenced at the very bottom by a demonstration of the acoustical laws on which the natural diatonic scale is founded. This work was made practical, by requiring the class to tell by their ears what intervals were sounded, and a theoretical talk upon the relation of such analysis to criticism was then given, in which emphasis was put upon the great importance in judging music of having trained ears. In future lectures it is purposed to similarly consider every element which goes to make up a composition. The course will be continued at intervals of two weeks, and while designed for the college pupils others interested in the study can obtain tickets at the office. The hour is 4:30 on alternate Fridays.
88Free Organ Recitals.—A series of bi-weekly free organ recitals are being given on the new Odell triple electric organ at the Marble Collegiate Church, Fifth avenue and West Twenty-ninth street, by Dr. Henry G. Hanchett. They occur on alternate Monday mornings at 11 o'clock, the next date being March 14, and will last until April 25.
90Hellmuth College.—Hellmuth College, London, Ont., of which the capable music director is Mr. Thomas Martin, held its half yearly exercises February 16, an excellent program being offered.
92Harrison M. Wild.—Harrison M. Wild gave his 101st organ recital last Sunday afternoon at the Unity Church, Chicago. He was assisted by Mrs. Theodore Brentano, soprano; Mrs. F. S. Bagg, contralto; Chas. A. Knorr, the well-known tenor, and John Morley, basso.
94The M. P. U. League.—The Musical Protective Union and National League of America hold a convention in New York in March and give an invitation banquet in Delmonico's on the 18th of that month. Among the guests invited are Chauncey M. Depew, Colonel Ingersoll, Anton Seidl and Theodore Thomas. Jesse Williams, the well-known and popular conductor in the Garden Theatre and for many years musical director in the Casino, is in charge of the guests' committee.
96Sternberg Plays the Schumann Concerto.—In speaking of Constantin Sternberg's recent appearance at the Young Maennerchor's Society's 40th anniversary in Philadelphia, February 22, the "Ledger" of that city writes:
98Constantin Sternberg followed in Schumann's piano concerto (A minor), in which he displayed talent and skill of the highest order. The selection of Schumann's concerto is in itself significant of an artist's belief in himself, for it is one of the least showy in the literature of the piano, with very few real bravura passages, even in the cadenzas and next to nothing of the music that is called grateful or applause compelling. Yet it is full of delightful music when played by one who can interpret its beauties and this Mr. Sternberg did, infusing his work with a lucidity and formative power that gave real charm to what would otherwise have been admirable as an exhibition of mere mechanical dexterity. There were moments in the concerto when the orchestra was a little shaky, but on the whole the orchestral score was very effectively given.
100Stratford, Ont.—A number of the musical ladies of Stratford have formed themselves into a musical society under the name of the Harmony circle for the purpose of mutual improvement. The Circle meets fortnightly at the residences of the members, and at each meeting a member reads an essay on a composer or musical subject selected at the last previous meeting, and five other members play works of the composer who has been the subject of the essay, or, in event of some other musical subject being chosen for the essay, they play something suitable to the subject, both the essay and the playing being open to a thorough discussion and criticism. In addition to the regular fortnightly meetings the circle gives a musical evening once in two months to which they invite their friends. This is the first year of the existence of the circle, but so far the meetings have been very successful, and the Stratford ladies are deriving a great deal of benefit from them. The officers of the circle are as follows: President, Mrs. Robert Smith; vice-president, Mrs. Dr. Ahrens; secretary-treasurer, Mrs. J. D. Riddell; musical director, Mrs. R. M. Ballantyne.
102The Poliklinik Concert.—The annual concert for the benefit of the German Poliklinik, which took place at the Metropolitan Opera House last Tuesday night was a great artistic as well as a highly gratifying financial success. The program contained two comediettas played by the Augustin Daly Company and one in German given by Miss Marie Barkany and the Amberg Theatre Company. The musical portion of the program called for the services of a complete orchestra under the vigorous direction of Mr. Nahan Franko, Miss Felicita Kaschowska, Mr. William H. Rieger, Mr. Max Dick, a new violinist, and last, but by no means least, of the Philharmonic Vocal Quartet. The latter, consisting of Miss Julia Müller-Hartung, soprano; Mrs. Anna Lankow, contralto; Albert Thies, tenor, and Hermann Hovemann, basso, assisted by Jacques Friedberger, pianist, were heard on this occasion for the first time in public, and created an excellent impression with their artistically fin-
The computer misreads some letters and numbers. Where a name matters to you, read the scan.