Scan 12
Musical Courier 1892-05-04: Vol 24 Iss 637, 1892
69 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 13. See the scan on archive.org.
1vigorously, clarinets and horns are added, and by means of harp, flute and oboe a sudden change to A major enables a repetition of the theme in that key, oboe and flutes accompanying on alternate beats of the measures.
3This strain is broken in upon by the diminished chord on B, the fagott having a figure (ascending in sixteenth notes from low D) built on the arpeggio. The disturbing voice is joined by the 'cellos, the violas and strings, also the flute, and as the dominant seventh chord on G is reached a glissando of the harp, like a cool breeze from the mouth of Aeolus, clears the way for the second part of the first theme. This is in the nature of a counter movement in thirds and is given to the clarinets and violas, with fagotti and other strings pizzicato. In the repeat, still in key of C, the flutes join it an octave higher. Brass cymbals are added very softly and, as it continues, the violins snatch it in the key of E major, without modulation, accompanied by flutes and oboe on alternate beats of the measure.
5A fragment is then bandied about from strings to woodwind and back, the harp having a word to say now and then. A new episode is then introduced, the horns taking the chord E major and G major alternately, while the violins form a tremolo in thirds on A sharp and B third underneath, changing to suit the harmony.
7After this has been abbreviated and repeated on the chords G and B flat, a most comical effect is produced by giving an arpeggio to the bassoon built upon them. In the meantime the oboe and flutes have been busy with a syncopated tone preceded by a grace note, the whole giving a weird sylvan effect.
9Again the bassoons and 'cellos are given a figure playing about the diminished chord, ushering in the second chief theme with a fragment, the shrill tones of the piccolo being added to the flute.
11As this second principal theme is announced by flutes, clarinets and violins, the cornet gives out the principal theme of the lovers from Part II. (pastorale). It is given in 3-8 time, as against the 4-8 time of the other movement, and furnishes an earnest contrast to the mad whirl of the dance. The harp is in full chords, while the wooden cymbals continue persistently.
13SECOND PRINCIPAL THEME.
15As this theme develops the voice of the lovers is heard in the 'cellos and horns, while the strains of the dance are taken up by the full orchestra, the cornets joining in lively movement. A modulation to G major, with a figure in thirds by the violins, ascending on the chord of the dominant seventh with harp accompaniment, leads to a repeat of the first theme in G major ff, the cornets adding their bright tones, the flutes, oboe and clarinets. The strings and brass accompany on the unaccented beat. This is immediately repeated in C, the cornets rising to the highest pitch.
17The second principal theme is now repeated, the voice of the lovers gaining additional prominence, strengthened by the trombone. The dance has gradually increased in fury to this point, and now at the sound of the gong a general scurrying to get away from the approaching interloper takes place. While the woodwind rush down the diminished chord of the seventh the lovers' song ascends into prominence, and again with a rapid passage on the dominant seventh on A flat the disturber is recognized as "Prospero" by the solemn tones of the trombone introducing the principal theme of Part I. Now in 4-8 time this first motive again furnishes the base for rapid passages alternately in the woodwind and strings, the harp again being used on the first and third beats at the end of each passage. A swift glissando of the harp leads back to fragments of the first and second principal themes of this movement treated colloquially and dispersedly, while a suddenly low tone of basses and 'cellos on G presages the entrance of "Caliban." The introduction of this character and his drunken companions is indicated by a figure in the 'cellos and violas and violins, first on the chord of G and then on the chord of C.
19"Ariel" and his companions continue flitting about, and as the full theme of "Caliban" is announced punctuate it with a reiteration of fragments of the first theme as though in ridicule.
21FIRST PART OF "CALIBAN'S" THEME (ABBREVIATED):
23This ("drunken" motive, as it were) is developed with strings accompanying in syncopated movement modulating to C major, and with a glissando of the strings brings us to the second theme of this episode, also in F major; this is in the nature of a simple song and is accompanied by the sharp tones of the oboe with a grace note and syncopated as though prodding the poor beast. The harp is brought into play in the repeat with arpeggios in the higher octaves; and the oboe and clarinet then mockingly take up the song, while "Caliban" stagers about in the bassoons and 'cellos at the end of each phrase. The song is then worked out in minor harmonies (complainingly), passing through various modulations and leading up to a ff repeat of "Caliban's" first theme by the violins, trombones, cornets. This is now in turn modulated back to F, with the full orchestra. "Ariel's" figure flitting about from flutes to first violins As though exhausted with his effort "Caliban" now slinks away, racked with the pains inflicted upon him by "Prospero," his chief theme being given a plaintive color in F minor, not, however, until "Ariel," in a rapidly descending cadenza of flutes and clarinets, followed by the harp, has given him severe punishment. As "Caliban" retires the sombre theme of "Prospero" again appears, and finally, with a modulation to the original key of C, the fairies rush back to their dance. Here occurs a repeat of a portion of the entire movement, commencing with the first principal theme and continuing up to the entrance of "Caliban." The episode of the monster is avoided and a passing fragment is interrupted by the onrushing cadenza of the fairies leading into the principal theme of the lovers from Part II., now given out in 6-4 time, while "Caliban's" theme, muttering in the low notes of the basso and 'cellos, passes off in the distance. The strains of the lovers now gradually assume prominence, being interrupted only by "Prospero's" theme and fragments from the fairies' dance. Finally the full strength of the orchestra is given to an elaboration of this theme in 6-4 time, the phrase passing higher and higher until the climax is reached, the kettledrums emphasizing the crescendo.
25The time changes now to 4-4, and with the phrase of "Prospero" and the fairies alternating the lovers' theme is broadened out again, with the full orchestra bearing it up in triumph, while underneath may be heard the "Caliban" phrase conjured and subdued.
27A Brilliant Concert.
28D'ALBERT AND NIKISCH.
30A BRILLIANT concert was given by the Boston Symphony Orchestra in conjunction with Eugen d'Albert last Monday night at the Madison Square Garden Concert Hall. The hall was crowded and the audience a representative one. Here is the program:
32Overture, "Sakuntala"………………………………………Goldmark
33Concerto for piano in E minor, op. 11……………………Chopin
34Introduction to Act III., Dance of Apprentices, Procession of Mastersingers and Homage to Hans Sachs ("Die Meistersinger")……………………………………………..Wagner
35"Pilgrim's March," from symphony "Harold in Italy" (by request)……………………………………………..Berlioz
36Viola solo, Mr. Franz Kneisel. one of two readings
37Viola solo, Mr. Franz Kneisel……………………….. one of two readings
38Concerto for piano in E flat………………………………………Liszt
40The orchestra was in capital form, and the appearance of Mr. Nikisch and Mr. Kneisel was the signal for warm applause. Mr. Nikisch's reading of Goldmark's Oriental overture is familiar to us, and it lost not a jot of its warmth and dramatic coloring on this occasion. It was played superbly.
42The "Meistersinger" music also received an adequate interpretation, being finely worked out as to details.
44Mr. Kneisel, who plainly showed traces of his recent illness, played his viola solo with his accustomed suavity and taste and was enthusiastically applauded. Mr. d'Albert has played both the Chopin and Liszt concertos here before, and we all know his unquenchable vigor, his fiery attack and tremendous climacteric effects. The Chopin concerto was partially Chopin and partially Tausig in the piano part, though d'Albert retained the original orchestration, with the exception of the big cut in the first tutti. While lacking tenderness, the concerto was played most brilliantly, particularly the rondo. The Liszt concerto was given con amore, especially the finale, and the house fairly rose at the conclusion. Mr. d'Albert played for encores Rubinstein's staccato etude and Chopin's A flat valse. The etude was a marvel of speed and sustained power. Mr. Nikisch conducted, as usual, with skill and fire, and his accompaniments were miracles of tact and sympathy.
46Seidl to Have a Permanent Orchestra.—Commenting upon Mr. Seidl's engagement at the opera next season the "Evening Post" of last Monday says: "Apart from the immense improvement in operatic affairs which this partial return to a Wagnerian régime indicates, there is cause for congratulations that the admirable Seidl orchestra will thus be kept together. But there is more good news still, which has not yet been made public. Through the efforts of some wealthy friends of Mr. Seidl a guarantee fund of $50,000 for three years has been obtained, which will place the Seidl concerts on a solid basis. A week ago it seemed as if Mr. Seidl were to be crowded out entirely. Now he is at the head of affairs again, as he deserves to be."
48FOREIGN NOTES.
50A Prize Competition.—The Académie Littéraire et Artistique du Hainaut, Belgium, has opened a Grand International Competition for the following pieces of music: 1. Triumphal march for full orchestra. 2. Overture for wind or brass band. 3. Four part chorus for men's voices. 4. Fantasia for piano. 5. Compositions for violin, violoncello, flute, clarinet, cornet, trombone or bass tuba, with piano accompaniment. The prizes will consist of silver and bronze medals with diplomas. MSS. are to be sent to Mr. C. Petit, La Louvière, Hainaut, at once.
52Messager's "Chrysanthemum."—Pierre Loti, who was, with the usual honors, admitted to the French Academy a fortnight ago, is the author of the story upon which Mr. Messager's new opera, "Chrysanthème," intended for the Paris Opéra Comique, is based. Mr. Messager states that he has put his best music into this work, and that he anticipates that it will be even more successful than "The Basoche," which perhaps is not saying much. Mr. Messager has also contracted to write a new opera for Messrs. Ricordi, of Milan, and it will in all probability be given at La Scala.
54Music in Norway.—Somehow music seems to be in a rather low state at present in Norway. At a fête recently given in honor of Edward Grieg by the inhabitants of his native town, Bergen, the famed Norwegian composer made a speech in which he remarked: "I regret to have to confess that for the last 100 years music has never been in such a backward state in Bergen as it is at the present time."
56One of Rossini's Last Letters.—Many of Rossini's biographers speak of the continual nervous attacks suffered by the maestro, which had tormented him from his youth up. But Rossini never speaks of his health to Florimo till the year of his death. The following letter is dated May 15, 1868:
58My Beloved Friend and Colleague—Although the reading of your dear letter of the 7th inst. saddened me not a little by the news that you had been suffering for fully five months from pains in the limbs, I am tranquilized and rejoiced by the assurance that you are now almost entirely restored to health, and by the certainty that the baths of Ischia will give you back your pristine strength. I cannot say so much of my own health, because since November 15 of last year I am a prey to a terrible malady which has completely deprived me of sleep and strength. I have, besides, continual hiccoughs and attacks of yawning, the constant accompaniment of this horrid malady. The French physicians (who are no less tyrants of humanity than those of the Sebeto, as you call them) gave me hopes that when I went to Passy (where I am now) at the beginning of spring I should regain strength and sleep from the purer air. But I am already here fifteen days and no improvement has taken place in my painful and maddening illness. You see well, my good friend, that the newspapers which report my restoration to health are, alas, in error. We shall see whether the summer will do me any good. My stomach alone performs its functions well, and that is why I have the appearance of a man in the enjoyment of good health. But I see that I am chattering too much about sad things.—"The Athenaeum."
60Zelie de Lussan.—English opera goers will just now be interested to learn that Zelie de Lussan last week signed an engagement with the Carl Rosa Opera Company for another twelve months—that is, for their season of 1892-3. During that engagement Mrs. de Lussan will "create" in English the rôle of "Desdemona" on the company's first production of Verdi's "Otello," and the title part in Bemberg's new opera of "Elaine" in the event of the Rosa Company taking over the rights—a step which they contemplate—of that work for their next season.
62Mascagni's New Opera.—Pietro Mascagni is busily engaged upon the score of his new opera, "I Rantzau," the subject of which is again drawn from one of Erckmann-Chatrian's stories. According to some Italian papers the opera is to be first brought out at the Imperial Opera of Vienna during next autumn, while others name the Teatro Pagliano of Florence as being the lyrical stage selected for the première, and even give the names of the artists cast for the principal parts.
64Sarasate's Success.—Pablo Sarasate and Berthe Marx have just returned to Paris, having concluded a most successful tour through Germany and Austria. They gave in all twenty-five concerts; the net receipts of the final one at Bonn, amounting to over £100, were handed over to the fund for the restoration of Beethoven's house. The program on the occasion referred to included the "Kreutzer" sonata, in addition to trios and quartets by the great composer.
66A Financial Loss.—The Carl Rosa Company's accounts for the past year have, as most people are aware, shown a loss. It is explained, however, that this loss has arisen "from a variety of exceptional circumstances which are not likely to recur, and at the general meeting of the company, after the directors had had the opportunity of giving explanations in detail to a representative body of the shareholders, complete unanimity prevailed, and the directors' reports and accounts were adopted and the retiring directors re-elected."
68Paris Opera Customs.—Subscribers to the Paris Opera are admitted behind the scenes, and the foyer of the dance, their retreat during the entractes, is a sumptuous apartment, overpowered by painting, carving and gilding. If one enters about 11 o'clock in the evening he will see scores of coryphées and about a dozen men chatting to the
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