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Musical Courier 1892-03-09: Vol 24 Iss 629, 1892
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1Paris Musical Jottings.
2PARIS, February 23, 1892.
4We have been visited by the only snow storm of the season, less than a foot of snow, but which occasioned any amount of trouble, bad walking and suspension of traffic.
6It seems very strange to Americans that such a slight snow storm should upset matters so seriously. I attended a concert given at the Salle d'Horticulture in the Rue de Grenelle, by Mr. Marcel Herwegh, a violin virtuoso. He was ably assisted by Mrs. Levenhoff, the Russian pianist; Joseph White, the Creole violinist; Miss Julia Robert, soprano, and Miss Cécile Chaminade, the young and gifted pianist and composer. The features of the concert were solos (violin), by Mr. Herwegh. He played an "Etude Chromatique," by Moscheles; "Danse Slav," by Dvorak, and capriccio, by Bohm, which displayed his talents as a virtuoso, the Moscheles etude particularly requiring any amount of technic. He also took part in a concertante, "Au bord d'une source," by Liszt-Singer, assisted by Messrs. White and Mendels. Two of Miss Chaminade's songs were sung by Miss Robert, one of which, "The Madrigal," is well known in America. Miss Chaminade also played with Mrs. Levenhoff an andante and scherzo and the "Sevillane," written by her for two pianos. At a concert given February 15 at the Salle Pleyel-Wolff, for the benefit of the Alsace-Lorraine Society, the artists assisting were Miss M. Panthes, solo pianist; Magdeline Godard, violinist; Mrs. Bilbaud Vauchelet, soprano, and Mr. Hasselmans, the harpist, who played as his selections a ballade, composed by himself, and "Le Rouet," by Godefroid, and other selections. His playing is particularly brilliant and refined. I understand that he is at present the finest harpist in Paris. At last Sunday's Colonne concert the program consisted of Mendelssohn's "Reformation" symphony; Saint Saëns' "Rhapsodie d'Auvergne," for piano orchestra, played by Mr. A. de Greet, from the Brussels Conservatoire; he labored under the disadvantage of having to interpret a rather uninteresting work, but in his second numbers, consisting of a barcarolle by Rubinstein; "Marche Nuptiale Norwegienne," by Grieg, and tarantelle by Moszkowski, he displayed marked abilities as a pianist of the highest order. A symphonic suite by Augusta Holmes, "Au pays bleu," was played for the first time, the second part, "En Mer," being a particularly interesting barcarole movement. The solo parts were sung behind the stage and a humming accompaniment by the chorus. Quite a little commotion was caused in the theatre at its close by a musical crank throwing down some pamphlets from the gallery into the audience, accusing Miss Holmes of plagiarism in her composition of the work and that the subject had been stolen, but Miss Holmes is too well known for the originality of the work to be questioned.
8The "pièce de résistance" of the concert, however, was the symphonic poem, "Nuit Persane," by Saint-Saëns, its second performance at these concerts. It was given with the vocal assistance of Miss Durand Uhlbach, soprano, and Mr. Engel, tenor, and a selected chorus. The libretto of the poem is borrowed from the poem of the same name by Mr. Armand Renaud. As the name signifies, the music is of a delightfully Oriental character and was warmly received. The strophes were very effectively recited by Miss Féril, of the Vaudeville Theatre. The concerts closed with a spirited rendition of the "Tannhäuser" march. These concerts are very enjoyable and within the means of all, as the prices range from 1 fr. to 10 for a ticket.
10I hear that Miss Melba is to create the title rôle in a new one act opera at the Grand Opéra. It is called "Stratonic," by Mr. Fournier, libretto by Louis Gallet.
12Miss Emma Nevada has just finished a tournée through Spain under the direction of Mr. Strakosch, and is now singing in "Hamlet," in Turin. L'Hérie is singing the rôle of "Hamlet."
14They have revived "L'Oncle Celestin" at the Menus Plaisirs Theatre. This week we have the rentree of Mrs. Richard at the Opéra Comique in the opera "Le Roi d'Ys," supported by Miss Simmonet and Messrs. Bouvet and Gibert in the cast. Sybil Sanderson returns shortly, and "Nanon" will then be revived. We are to have "Les Noces de Figaro" with Miss Isaac as "Susanna," and Miss Salla as the "Countess," two old favorite Opéra Comique artists. Miss Ella Russell is here resting after her triumphs in Warsaw. Mrs. Van Arneheim is in Paris and expects soon to be heard at the Colonne concerts. Mrs. Minnie Hauk passed through Paris en route for Nice last week, where she is registered at the Hotel St. Petersburg. I called on Mrs. Marchesi last Sunday and she showed me her program for the Rossini concert which she gives on Saturday evening next at her hotel with Mrs. Krauss and other well-known artists. I shall be present and will describe it in my next letter.
16WILL TAYLOR.
18A Bayreuth Vocal Training School.—One of the aspirations of Wagner was to see established at Bayreuth a training school for dramatic singing, but the death of the master prevented the consummation of his plans. We now hear that it is the object of Cosima Wagner to carry out in this direction the views of her deceased husband, and there is very little doubt that a school established in so classic a region and on so sound a basis must be fraught with advantages.
20Vienna Letter.
21PRÉMIERE OF "WERTHER."
23VIENNA, February 16, 1892.
25TO-DAY the three act opera "Werther," with French text by Ed. Blau, Paul Milliet and Georges Hartmann, with an elegant German translation by Max Kalbeck and music by Jules Massenet, scored a great and extraordinary success. The story is taken from Goethe and is a lyrical drama in three acts and four scenes. The scene is laid in the neighborhood of Weitzlar and the time between July and December, 1772. The principal characters are:
27Werther…………………………………………………….Van Dyck Albert…………………………………………………….Neidi Lotte…………………………………………………….Miss Renard Sophie…………………………………………………….Mrs. Forster
29"Werther" dies in the arms of "Lotte," quite true to the story of Goethe. Massenet's spirited and effective music endeavors successfully to do justice to the German character of the book and shows the talent of the composer in a new and effective style, though he had to indeed battle with the dull monotony of the subject. The representation is one of the best and most complete that ever was seen upon the stage of the Court Opera. Mr. Van Dyck ("Werther") and Miss Renard ("Lotte") gave indeed magnificent impersonations, both in singing and acting. Mrs. Forster ("Sophie") and Mr. Neidi ("Albert") completed the excellent quartet in a most exemplary manner. The smaller rôles were excellently represented by Messrs. Mayerhofer ("Der Amtmann"), Schittenhelm ("Schmidt") and Felix ("Johann"). Director Dr. Jahn had rehearsed the score in a most thorough manner and conducted it personally. The new decorations and the historical costumes (after the drawings of Fr. Gaul) found universal favor. The magnificent mise en scène is the merit of the régisseur, Mr. A. Stoll. So everything operated toward a complete success. Miss Renard and Mr. Van Dyck won extraordinary applause, and next Mrs. Forster.
31Mr. Massenet was the recipient of a flattering acknowledgment and had to appear repeatedly before the curtain, together with the singers of the leading rôles, after each act. Dr. Jahn also came in for his share of applause by having to appear with Massenet and the other principals.
33When the moon shines brightly "Werther" and "Lotte" returned from the ball, and he is in fire and flame with love, and converses with her. At this point the father of "Lotte" (the bailiff) calls: "Albert has returned!" "Werther" hears this name for the first time, and at once finds its meaning, though "Lotte" she quietly retires to her home and "Werther" flies away, desperately exclaiming: "Another is her husband!" The second act opens with the scene of a square before the village church in Wallheim. "Albert" and "Lotte" are happily married since three months and come to the celebration of the golden wedding of the pastor. "Werther" looks upon them full of pain and jealousy, and he decides to depart forever. "Lotte" milders her reprimand with the proposition of an invitation for the Christmas festival. Here the thought of suicide overcomes him. "Sophie" (youngest sister of "Lotte") comes in frolicsome with a bouquet of flowers and asks "Werther" for a dance, but he runs like a madman away to the fields; meanwhile the festival procession of peasants proceeds across the stage with exclamations of joy. In the third act we look through the window of "Lotte" upon the snow covered roofs. It is Christmas Eve. "Lotte" reads the letters of "Werther" with painful emotion and unexpectedly "Werther" enters and recites "Ossian," to her. This scene takes place the same as in the romance. After "Werther" has pressed "Lotte" to his breast she raises and hastens to her room, and which she locks, never to be seen again. "Werther" hastens away. "Albert" enters, and directly after him a servant enters with a letter from "Werther" in which he asks for the pistols of "Albert." "Lotte" is called by "Albert" and she unlocks the door and appears with the pistols.
35Massenet has put his entire soul into this masterpiece and formed it with artistic earnestness. He succeeded in giving a remarkable unity of disposition throughout the whole opera.
37In the interest of this he has renounced arias, duets, choruses and finales. From a French composer, who is accustomed to build effects and sensuous splendor by the combined power of the entire orchestra, this demands a strong self denial, and "Werther" does honor to the composer of "Cid," "Esclarmonde," "Manon," &c. "Werther" has more than a trace of the Wagnerian style. For an opera like "Werther" this style seems to be more appropriate than the pathos of heroic operas. The treatment of the orchestra is not so artistic as that of Wagner, but more simplified and therefore much easier to understand. The orchestra is treated masterly and quite differently from his former operas. Massenet's "Werther" offers, besides, a very interesting historical fact. Outside of Cherubini's "Faniska" (1807) it is the only opera composed by a renowned French composer the first performance of which has taken place in Vienna in the German language.
39The tenor Andreas Dippel is engaged for the Court Opera. His engagement commences from 1893. For the present he is fulfilling his contract at the opera in Breslau.
41The singing society of the Society of Music Friends, on an invitation of the Lower Austrian Popular Society, will give a concert on March 20, under the direction of Wilhelm Gericke. The program will chiefly consist of choruses of Haydn and Schubert.
43On Monday, February 8, at the Imperial Opera House, the ballet "Sylvia; or, The Nymphs of the Diana" (music by Léo Delibes) was given.
45The scenery used in this ballet, as well as the costumes, was magnificent. The ballet was admirably staged and conducted by Josef Hellmesberger, Jr.
47The principals were:
49Sylvia…………………………………………………….Miss Cerale Diana…………………………………………………….Missa von Haentjen Amor…………………………………………………….Miss Pagliero Aminta…………………………………………………….Mr. Frappart Orion…………………………………………………….Mr. Price Nymphs, Goddesses of Diana, &c.
51The ballet corps needs no criticism, as it is world renowned. Following the ballet was
53"CAVALLERIA RUSTICANA."
55Santuzza…………………………………………………….Miss Schlager Turriddu…………………………………………………….Mr. Schrödter Lucia…………………………………………………….Mrs. Kaulich Alfio…………………………………………………….Mr. Ritter Lola…………………………………………………….Mrs. Forster Peasants, Children, &c.
57Mascagni remains yet a favorite with the Viennese public. There is not a week that passes that "Cavalleria" is not on the program; and with such a cast of brilliant artists and such an orchestra, under the able direction of Fuchs, why should it not remain?
59The répertoire for the week until 16th is:
61"L'Africaine," Tuesday, 9h.
62"Tannhäuser," Wednesday, 10th.
63"Excelsior," Thursday, 11th.
64"The Queen of Sheba," Friday, 12th.
65"Siegfried," Saturday, 18th. ("Siegfried," Andreas Dippel.)
66"Die Gärtnérin" and "Cavalleria Rusticana," Sunday, 14th. ("Die Gärtnérin" was one of Mozart's earliest operas, and composed between the age of seven and eight.
67"The Huguenots," Monday, 15th. ("Raoul," Dippel.)
69The death is announced at Paris of Mr. Eugène Gand, the celebrated violin maker, at the age of sixty-six.
71Jules Massenet visited the Richard Wagner Museum on the 9th inst., in company with his escort, Max Rikoff. They entered their names in the autograph album which is in the museum for all well-known visitors. Massenet will remain here until after the first performance of his "Werther."
73On the 30th and 31st ult. Anton Rubinstein gave two concerts for charity. He also appeared as a conductor. He conducted one of his own symphonies. In one day all the tickets were sold for both concerts, and many people were unable to gain admission.
75CHARLES LÉGER.
77The Oratorio Society.
78BACH'S "ST. MATTHEW PASSION MUSIC."
80THE third concert of the Oratorio Society this season, which took place at the new Music Hall on last Thursday night, and the public rehearsal on Tuesday afternoon were dedicated to the performance of the chef d'œuvre of the greatest master in the field of sacred music, John Sebastian Bach's "St. Matthew Passion Music." As a whole and completely rounded off work it is the one of all the great Leipzic cantor's works which shows him to the best advantage in his truly astounding polyphony, in the full power and magnificence of his style, and, lastly, in an attitude of harmonic and melodic invention which reaches what one is almost tempted to term divine inspiration, and which Bach himself in not one among the great number of his musical creations has again been able to attain.
82It cannot be gainsaid that the Bach cult since 1829, when Felix Mendelssohn first awoke the "St. Matthew Passion Music" from its centennial sleep, has made considerable progress. At that time Mendelssohn complained that "not only the people but also musicians passed by Bach's works with a 'holy terror.'" To-day it can at least be said that the two passions after St. Matthew and St. John, the B minor mass, several of his cantatas, his Christmas oratorio, his magnificat, not to mention a number of his minor works for orchestra, organ and solo instruments, are frequently heard in the music centres of Germany where Bach societies have also been established. It is just these Bach societies which have for their main purpose an annual production of the "St. Matthew Passion Music" in its entirety and under the most favorable conditions possible, and they have done much toward making the German people acquainted with this largest (in every sense of the word), most difficult and most imposing work of the master. The Germans have thus learned how to love and appreciate Bach, even if this love and appreciation be capable of a still and by far greater development. But they stand much nearer to him than people in this country and even in this city where the annual Christmas performances of Händel's "Messiah" can draw vast and most appreciative audiences, while Bach's "St. Matthew Passion," which is an infinitely
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