Scan 11
Musical Courier 1892-03-09: Vol 24 Iss 629, 1892
71 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1superior work from all musical points of view, cannot arouse the enthusiasm of even such comparatively meagre audiences as the work appealed to last week.
3To give here a complete analysis of the work space would forbid, even if such a thing could be accomplished in the case of a composition of such monumental beauty and grandeur. One must therefore confine himself to calling attention to the simplicity and characteristic style of the utterances of the narrating evangelist, which are all recitatives accompanied by the organ alone; to the beautiful and always noble phrases allotted to the Saviour and always accompanied by the strings, and to the highly dramatic exclamations of the chorus of the people, which together form the strictly narrative portion of the evangelium after the twenty-sixth and twenty-seventh chapters of St. Matthew.
5Interrupted is this narration, firstly, through the "Chorales of the Faithful," which in beauty of harmonization and leading of voices surpass everything that has been written either before or after the "St. Matthew Passion Music;" secondly, by the arias of the soloists, which represent the reflecting element in the same way as the chorus of the old Greeks; lastly, by the great eight part double choruses, augmented by a boy choir and sustained by the full orchestra and organ. These choruses, for overwhelming power and the mastery of the contrapuntal writing, will challenge the unbounded admiration of generations and generations to come.
7So much for the work itself. As for the performance under Mr. Walter Damrosch's direction it showed again, what THE MUSICAL COURIER has frequently heretofore maintained, that the young man is a far better chorus than orchestra conductor, and it must be confessed that the work, so far as the chorus was concerned, had been carefully prepared. Indeed, the beautiful chorales, which, by the way, were genuinely applauded, suffered somewhat on the side of too great refinement at the cost of grandeur. As for the soloists they were uneven in value. The soprano, Miss Clementine De Vere, was sadly out of place, as her style is not that of the oratorio, and she seemed so little prepared for her work that not even what little coloratura was demanded of her did she succeed in producing cleanly. Mrs. Carl Alves was better, and her beautiful alto voice, which however begins to sound a trifle hard, stood her in good stead. The noble aria with the violin obbligato, however, hardly came up to expectation, a fact which might be accounted for in the much too hurried tempo. Mr. William H. Rieger, the tenor, as the "Evangelist," deserves unstinted praise for the conscientious and painstaking manner in which he fulfilled his arduous and at times very difficult task. His phrasing was, moreover, musicianly and his intonation always pure. Mr. Max Heinrich hardly invested the divinely beautiful utterances of the Saviour with as much dignity and weight as they call for, and as for his baritone voice it begins to show the ravages of time and a never very careful use. Mr. Heinrich Meyn has a bass voice of much beauty and freshness, and he showed himself in his manifold capacity of "Judas," "Petrus" and "High Priest" as a singer of taste and good musical judgment. A word of praise is due also to Organist Frank L. Scaly, who handled his instrument with skill and discretion.
9Dresden Letter.
11FEBRUARY 20, 1892.
13OUR musical season is at its height. An event of the first order was Anton Rubinstein's concert for the benefit of the poor on February 5. He played in the Gewerbehaus before a perfectly enraptured audience. All the seats in the hall were taken long before the concert took place. Everybody was eager to hear and to see the great hero of music, whose mighty genius for such a succession of years has enchanted the world. How he played is useless to say. It is, besides, as a fact, impossible to describe, just as it is impossible to describe poetry. You feel it, you enjoy it and you never forget it. Enough to say that Rubinstein still is quite himself. Time and age seem to have had only little influence upon the strength of his feelings. There is the same warmth and tenderness as of old about his performance. If there was anything that did not please us it was to think that we were, perhaps, not to hear Rubinstein any more, as it was rumored that this was the last time the great pianist intended to play in public.
15A critical and highly appreciative audience crowded the Residenz Theatre for more than a month every evening to witness the performances of the musical pantomime, "L'Enfant Prodigue," by André Wormser and Michel Carré. The music is fresh and uncommonly interesting, impulsive, full of French esprit and graceful coquetry and very descriptive, which is of great worth for a pantomime, as no words explain the action. We know that geniuses do not die out; we say good-bye to one, and we soon have to welcome another; but still the saying good-bye is a hard thing and the public seemed to feel it deeply, for they received the great artist with utmost enthusiasm. They would not let up in recalling him again and again to accept their thanks. The program contained exclusively compositions by Anton Rubinstein. The concerto in E flat and a "Caprice Russe" with orchestra were performed with the orchestral accompaniment under the baton of Jean Louis Nicodé, a great favorite of the Dresdeners, who were glad to meet with him again. Delicacy of health is said to be the reason why Mr. Nicodé so seldom appears before the public. The rest of the program included smaller salon pieces: "Mélodie Valse"—a new one which Rubinstein played for the first time in Dresden at a private party in the salons of Miss Natalie Haemisch here—romance, etudes, miniatures, &c.
17The libretto is the touching story of the prodigal son—the prodigal son of our day. Young "Pierrot," after having deceived his loving parents, leaves his home to follow the unworthy object of his love, "Phrynette." After having sacrificed all his money, his honor and the peace of his soul for this love, he returns home heartbroken, forlorn, mentally shipwrecked, to seek a refuge in his mother's arms and to ask the forgiveness of his father. The poor suffering mother receives him kindly, but he is rejected by his father, who later, however, takes pity upon him, and gives him his blessing to go out in the war and expiate his crime, by way of death perhaps.
19As one sees, there is no immoral tendency in the piece. Only the second act, the salon of "Phrynette," may be considered somewhat frivolous, which also was the reason why the Court Opera did not produce this work, as was first projected. The third act, a deep tragedy, is introduced by some sad, gloomy G minor chords, representing the mournful despair of the poor "Pierrot" after having been treacherously deceived by "Phrynette." A beautiful prayer of the mother, as well as a sleeping song and the part of the hero, requesting his father's pardon, are of great musical worth. A final march, "Aux Armes," very effective and reconciliating, closes up the work. André Wormser, a pupil of Léo Delibes, may be glad of the success "L'Enfant Prodigue" had in Dresden. Lately another composition of his, of newer date, "Diana and Endymion," a suite, called for the attention of our musicians, who think the music charming.
21Moritz Rosenthal gave his first piano recital in Dresden last week. The most exaggerated reports about his success in Berlin had made the public so curious to hear that new wonder child of about thirty-five years of age—"a new Liszt"—that Braun's Hotel on the occasion was crowded to its utmost. The consequence was that the audience felt deeply disappointed. Certainly Rosenthal's technic is most astonishing, but he is by no means a Liszt, and his performances are lacking in poetry and true musical feeling. He cannot be compared with Paderewski or Rubinstein.
23Robert Gebler, a Jankó pianist, will be heard here next week with a selection of prominent composers in his program. Brahms' F minor sonata, Liszt, Chopin, Saint-Saëns and others are represented. In my next letter I hope to give an account of the American composers' concert, under the direction of Mr. F. X. Arens, who intends to give a concert in Dresden, and who is said to have made great success in Berlin in a concert there on January 30.
25A. INGMAN.
27Early Days of the Philharmonic Society.—I think the following reminiscence of the early days of the Philharmonic Society may be interesting to the readers of the article in the "Evening Post" of Saturday, January 30.
29When I came to New York in 1847 I went to the last Philharmonic concert of the season, and saw on the program a notice to the effect that "persons wishing to become associate members of the Philharmonic Society, with the privilege of attending the rehearsals, should call on Scharfenberg & Luis in October and give their names." In October I called, saw Mr. Scharfenberg, and told him I wished to become an associate member of the Philharmonic Society in order to attend the rehearsals. He looked at me with some surprise and said, "Ladies do not go to the rehearsals." I said, "Why not?" "I do not know," was his answer. "Is there any reason why they should not go?" "I see none," he said. "Then cannot I go?" "Are you willing to have your name proposed at the next meeting of the society?" I said, "Yes, unless you know of some reason why I should not." And so it was settled, and in a few days I received a printed form stating that I had been admitted as an associate member of the Philharmonic Society with the privilege of attending the twelve rehearsals and four concerts, and for the modest sum of $5.
31On the afternoon of the first rehearsal I went with some trepidation to the Apollo Hall; the only persons present besides myself were a man and one small boy. I soon smelled cigar smoke, and the conductor arose and said: "Gentlemen, I presume, now that we have agreed to admit ladies as associate members, you will agree with me that we should throw away our cigars." I wanted very much to call out and tell them not to, but I kept still and there was no more cigar smoke.
33At the next week's rehearsal there were twenty or thirty ladies, and at the third at least one or two hundred. I observe that the article of Saturday states that certain compositions were heard "for the first time in America at these concerts in 1842." In 1840 I heard in Boston the First Symphony of Beethoven, and later in the same year the Fifth Symphony.—AN OLD MEMBER. New York, February 2.—"Evening Post."
35Opera in Italian and French.
37A S announced in last week's MUSICAL COURIER the cast of "Die Meistersinger" last Wednesday night at the Metropolitan Opera House contained as principals the names of Albani, Bauermeister, Jean de Reszké, Jean Lassalle, Mr. Montariol, Mr. Carbonne and Mr. Serbolini. Anton Seidl conducted a largely reinforced band, which sat in the sunken orchestra of last season. The performance was a tour de force for Mr. Seidl and some of the artists engaged, for when one considers the enormous obstacles that prejudice, racial conditions, previous training threw in the conductors way, a faint idea may be gleaned of the work that was accomplished. Jean de Reszké's "Walther" was by all odds the best impersonation of the character we have heard here, and after Alvary's overrated and wooden acting and singing it was a revelation of the possibilities of the part. A little too Italian it was at times, too much addressed to the stalls and boxes, too long dwelling at the close of a phrase on a note for the earnest young poet singer, but all that is the result of Mr. de Reszké's training in French and Italian schools. His earnestness and devotion were evident from the start, and he greatly improved in subsequent performances. Upon the beauty of his singing and person there is little need to dilate; he was poetic and charming throughout.
39Jean Lassalle was the "Hans Sachs," and his work was thoroughly sincere and artistic, though lacking in the Teutonic breadth and humor required by the character. He was dignified and convincing and sang with understanding. Albani was a conscientious and mature "Eva," and Carbonne sang too well for "Beckmesser," though he was funny in an Italian way. The "David," Mr. Montariol, appeared to good advantage, while the quintet was beautifully sung.
41The "Meistersinger" were a sorry crew, "Pogner's" address being stupidly delivered, and the "Kothner" was very, very bad. The chorus were like fish out of water, but struggled nobly, particularly the apprentices. "Magdelena" was discreet, and in the last scene some of the chorus sang in German. The orchestra was, of course, in good form and Mr. Seidl shared the honors of the evening with Messrs. de Reszké and Lassalle.
43Great enthusiasm prevailed and the opera was repeated at the Saturday matinée and last Monday night. Wagner is not quite dead in this city after all.
45Last Friday night "Carmen" was given with this cast:
47Carmen……………………………………………………Mrs. Tavary
48(By arrangement with Mr. De Vivo.)
49Frasquita…………………………………………………Mrs. Bauermeister
50Mercedes…………………………………………………Miss Gretta Risley
51Michaela………………………………………………….Emma Eames
52Escamillo………………………………………………….Magini Coletti
53Dancairo………………………………………………….Grossi
54Remendado……………………………………………..Rinaldini
55Morales……………………………………………………Vaschetti
56Zuniga…………………………………………………….Viviani
57Don José………………………………………………….Valero one of two readings
58Don José…………………………………………………..Valero one of two readings
60In consequence of the sudden indisposition of Giulia Ravogli, the rôle of "Carmen" will be sung this evening by Mrs. Tavary, who has kindly consented to sing the part at the shortest possible notice and without rehearsal.
62Strangely enough, when it should have been the star performance of the season it was by all odds the worst.
64Such a "Carmen" has never before been seen in this city. She was very bad, both in singing and acting. She behaved like a hoydenish school girl, and sang persistently out of tune. This is all the more singular because Tavary has proved herself in concert this season a most capable artist, and one possessing some dramatic instinct. The one redeeming feature of the evening was Emma Eames, who sang beautifully. Her work in the third act was genuinely artistic, and the freshness of her voice and her unfeigned acting stood out in bold contrast to her fellow associates, some of whom seemed to be laboring under the impression that the opera was written for them to exploit their personal tricks. This was particularly the case with Valero, the "Don José," who, while he never sang better this season, nibbled at the tiniest ripple of ill-timed applause, and was for da capo, first and last and every time. He believed in making assurance doubly sure and would have declared his love for "Carmen" twice, but a few hisses brought him to his senses. The "Toreador" was a wobbly stick whose vocal method hailed from the most malarial district of New Jersey. The chorus and orchestra were bad and Mr. Vianesi, like the man in the story, "had nothing to say for himself."
66Last night "Orfeo" and "Cavalleria Rusticana" were sung in Brooklyn. This afternoon there will be an extra matinée; "Faust," with the great cast, will be sung. To-night "Sonambula." Friday night a double bill, "Orfeo" and "Cavalleria Rusticana." At the Saturday matinée "Les Huguenots" will be sung. The troupe then goes to Boston for two weeks and returns for a supplementary season of two weeks. Patti will be heard in opera.
68The De Reszkés and Lassalle sail for Europe on the Touraine April 9.
70A Concerto for French Horn.—A novelty was recently played in Vienna which would be welcomed here too—a concerto for French horn by Richard Strauss.
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