Scan 10
Musical Courier 1892-05-11: Vol 24 Iss 638, 1892
69 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
1Vienna Notes.
2Vienna, April 15, 1892.
4"L'AMICO FRITZ" has met with success in Vienna, and no doubt will have as long a run as did the same composer's "Cavalleria Rusticana." The opera was given under favorable circumstances, and received a thorough interpretation at the hands of first-class artists. The intermezzo had to be repeated at the request of the audience.
6The new opera, "Friedel mit der Leeren Tasche," from the pen of the Vienna composer Max Josef Beer, which had its première in Prague, has met with considerable success.
8Johann Strauss has begun work on a new operetta, which will probably have its first performance next season. The name of the new operetta is "Princess Minetta," and the text is by Hugo Wittman and Jul. Bauer.
10The opening of the International Music and Dramatic Exhibition will take place on May 7 in the large Tonhalle with a monster musical performance.
12In the evening of the same day the theatrical management will open their part with a one act play, which will be produced by the Wiener Theatre. The other theatres which are going to take part on this occasion will be the following: Carl Theatre, the German Volkstheatre, the Josephstätter and the Theatre an der Wien. The managers of these theatres have decided to close their houses on the opening evening. With the permission of the General Intendant of the Court Theatres, Mrs. Wolter, the celebrated actress, will take part. The manager of the German theatres of Berlin, L'Arronge, has given notice to the committee in Vienna that his troupe will take part on May 8.
14Ed. Hanslick, in his "History of Vienna's Music," makes mention of a symphonic poem which was performed in Vienna in the last century under the name of "Werther." It was composed by Pugnani and was performed on March 22, 1796.
16(Gaetano Pugnani was one of the best of violin virtuosos of his time and a pupil of the celebrated Corelli. He was born in Turin in 1727 and died there in 1808.)
18Felix Blangini relates in his "Souvenirs" that Pugnani's symphonic poem was, by request, performed to a select society in Turin, where he directed it personally, and in his excitement and to the surprise of the guests he pulled off his coat and conducted in his shirt sleeves. Suddenly, in the part where "Werther" dies, he pulled out a pistol and shot into the hall.
20At about the same time Blangini wrote a cantata with the same name for solo with accompaniment of large orchestra.
22CHAS. LÉGER.
24Paris Musical Items.
25Paris, April 18, 1892.
27We are in the midst of the Easter festivities. On Easter Sunday the music in the churches was, as usual, of the highest order. I attended the service at St. Augustin and at the Madeleine churches. At the latter Gounod's mass was given with full orchestra and chorus, with the assistance of several artists from the opera. The church was crowded and hundreds were unable to obtain admission. In the afternoon I attended vespers at the Trinité, where from my position in the organ gallery I listened to a delightful program of choice music under the direction of Messrs. Guilmant and Salomé; among other selections were the Pilgrims' Chorus from "Tannhäuser" and the "Ecce Panis," of Cesar Franck, given with chorus, organ and harp accompaniment. On Thursday afternoon last I attended a service at the old church of St. Gervaise near the City Hall; the music consisted of chorales and chants by Palestrina, Corelli, Lotti and other composers written during the sixteenth and seventeenth centuries. The choir was placed in one of the recesses in an upper gallery and was most impressive.
29On Good Friday the "Tenebrae and Miserere," by Gallus, was given by a double chorus. On the same day at St. Eustache Rossini's "Stabat Mater" was rendered by the choir under the direction of Mr. Dallier, the organist of that church, but the acoustics were so wretched (the choir being placed in the nave) that the performance suffered much in consequence. On Saturday evening last a large audience filled the Salle Erard to listen to a concert given by Mr. George Magrath, solo pianist, who has just finished a three years' course of instruction in Berlin and Leipsic. His selections consisted of compositions of Liszt and Chopin exclusively, with the exception of the piano quintet of Widor, given with the assistance of Messrs. Marsick, Brun, Laforge and Loys. His playing much delighted the audience present, his rendition of the andante and polonaise of Chopin serving to illustrate his abilities in both the sostenuto and bravura style of playing and showed himself a thorough artist. He leaves for America very soon and hopes to be heard in New York early next season.
31One of the features of the concert was the violin solo of Mr. Marsick, who is rarely heard in concert, as his time is so much occupied in teaching that whenever he is persuaded to appear in concert music lovers know what a treat is in store for them. He gave as his numbers an andante and "Danse Slovacque" by Wormser, and received a perfect oration; the latter number was played by him magnificently, bringing out both the sentiment and the wild gipsy character of the composition. Mrs. Leroux Ribeyre, the favorite soprano, sang songs of Massenet and Delibes with much delicacy.
33Marchesi gave her second musicale at her hotel on Tuesday afternoon last, which consisted of numbers interpreted by pupils belonging to her preparatory classes. The pupils all showed great proficiency. Among those whose singing was especially noticeable were: Mrs. Lilian Duncombe, who sang songs composed by Bemberg, the young composer, and accompanied by him on the piano; Miss Elise Patterson, who sang two Italian songs with much taste, her mezzo voice effects being especially enjoyable.
35Miss Maud Young, from Chicago, sang an aria from "Etienne Marcel," by Saint-Saëns and "La Biondina," by Gounod; her voice is of lovely quality, being sympathetic and of good range and showed careful study and intelligence; two very young girls, Misses Auld and Boeckler, showed much promise in their singing. Miss Josephine Reilly, of Philadelphia, a protégée of the Drexels, bankers of that city, used her voice to great advantage in an aria from "Robert le Diable." The musicale was listened to by a very large audience, which joined afterward in congratulations to Marchesi over the success of the affair.
37On Good Friday night throngs filled the Eden Theatre, attracted by the choice program interpreted by the Colonne Orchestra, assisted by Mrs. Gabrielle Krausse, Mr. Warmbrodt and Mr. Hollman, the great Belgian 'cellist. Krausse sang the "Inflammatus," from Rossini's "Stabat Mater," and the arias "La Nuit," of Gounod, and "Elizabeth's" prayer, from "Tannhäuser," showing the great artist which she is. Her voice, although worn, shows such admirable method and her interpretation great intelligence, and her appearance in concert is always hailed with delight. Mr. Hollman played the "Kol Nidrei" of Max Bruch and delighted his audience with his graceful and finished style of playing. one of two readings
38On Good Friday night throngs filled the Eden Theatre, attracted by the choice program interpreted by the Colonne Orchestra, assisted by Mrs. Gabrielle Krausse, Mr. Warmbrodt and Mr. Hollman, the great Belgian cellist. Krausse sang the "Inflammatus," from Rossini's "Stabat Mater," and the arias "La Nuit," of Gounod, and "Elizabeth's" prayer, from "Tannhäuser," showing the great artist which she is. Her voice, although worn, shows such admirable method and her interpretation great intelligence, and her appearance in concert is always hailed with delight. Mr. Hollman played the "Kol Nidrei" of Max Bruch and delighted his audience with his graceful and finished style of playing. one of two readings
40The orchestra played a scene from "Parsifal," the overture to Mendelssohn's "Athalie" and the funeral march from Berlioz' "Hamlet." Mr. Warmbrodt, tenor from the Grand Opera, sang "The Beatitudes," by Cesar Franck, the first time given here, and an aria from "L'Enfance du Christ," by Berlioz. At the Cirque d'Hiver the Lamoureux Orchestra attracted also another large audience the same evening, assisted by Mr. Van Dyck, the eminent tenor from Vienna, who gave selections from Wagner with his usual great success. A concert is announced at the Salle Erard by Sarasate, the violinist, with the assistance of Bertha Marx, pianist.
42Will Taylor.
44Music and Musicians in Dresden.
45It is always with particular delight that I pack my gripsack to take a flying trip to Dresden, the Northern or "Elb Florenz." For ever since my year with Prof. Dr. Wüllner at the Dresden Conservatory I cherish the most pleasant memories imaginable of my teachers, the conservatory, the quaint old city, its people and its charming suburbs. Dresden seems to be peculiarly attractive to the English speaking race, for with every year the English-American colony increases. In fact, one meets with English and American faces at every turn, at the opera house, the concert rooms, the museums and on the promenades in the "Grosse Garten." No wonder, for Dresden is simply charming, combining as it does all the advantages of a royal residence with the attractions of beautiful surroundings.
47As my readers may readily imagine, I was particularly glad to give an American concert in the Saxon capital.
49While there I heard two notable performances on the Busstag (a legal holiday set aside as a day of fasting and prayer). I attended a performance of Bach's "Passion" music (St. Matthew). All the notable choral societies of the city had combined for the occasion, under the conductorship of Müller-Reuter; and I will say right here that it was one of the best performances of this colossal masterpiece I ever heard; far better, for instance, than a performance of the same work by the "Gesellschaft der Musikfreunde" in Vienna, under Hans Richter, some two years ago.
51Müller-Reuter is a young man of great promise, I surmise. He has fire, considerable routine and artistic instincts. He told me that he at one time had been a classmate of our Mr. MacDowell at Frankfort, under Raff; of course he was quite anxious to hear MacDowell's suite, op. 42 (the last number on my Dresden program).
53The only jar in this praiseworthy performance was caused by the "fearful and wonderful" organ accompaniments perpetrated by Fischer, Dresden's organ virtuoso. I fully agree with your former Paris correspondent, Mr. William Carl, when he claims that Germany is not the home of artistic organ playing, at least not according to modern ideas of organ music. Mr. Fischer's registration on this occasion was something frightful.
55At the Opera House (where, by the way, you can get the best 25 cent seat in the world) I heard the third performance of Draesecke's new opera "Herrat." You already have heard of the success of the work, and I can confine myself to a few supplementary remarks. The subject is taken from an old German epic poem by Henry the Fowler, in which "Dietrich von Bern," a prototype of perfect chivalry, is said to have joined in wedlock with "Herrat," the sister of "Helke," wife of the powerful "King Etzel." This hero (originally "Theodoric the Great, King of the Goths") is the subject of quite a number of old epic poems, fragments of which have come down to us. In the second part of the song of the Nibelungen, for instance, our hero is also introduced as being at the court of "Etzel ('Attila'), King of the Huns." Accordingly, the costumes and scenery of castles and their interiors are precisely like those of Wagner's "Siegfried," for instance. Draesecke, who wrote his own libretto, also employed many obsolete poetic expressions and names of places and persons, without, however, following Wagner's example of employing the "Stabreim" (alliteration). one of two readings
56At the Opera House (where, by the way, you can get the best 25 cent seat in the world) I heard the third performance of Draesecke's new opera "Herrat." You already have heard of the success of the work, and I can confine myself to a few supplementary remarks. The subject is taken from an old German epic poem by Henry the Fowler, in which "Dietrich von Bern," a prototype of perfect chivalry, is said to have joined in wedlock with "Herrat," the sister of "Helke," wife of the powerful "King Etzel." This hero (originally "Theodoric the Great, King of the Goths") is the subject of quite a number of old epic poems, fragments of which have come down to us. In the second part of the song of the Nibelungen, for instance, our hero is also introduced as being at the court of "Etzel ('Attila'), King of the Huns." Accordingly, the costumes and sceneries of castles and their interiors are precisely like those of Wagner's "Siegfried," for instance. Draesecke, who wrote his own libretto, also employed many obsolete poetic expressions and names of places and persons, without, however, following Wagner's example of employing the "Stabreim" (alliteration). one of two readings
58While he thus succeeds in striking a tone quite in keeping with the old fierce, albeit chivalrous, heroes and their times, he, on the other hand, created a stumbling block by writing his own book, which eventually may materially interfere with the ultimate success of the work. Draesecke is not a poet, although quite a dramatist; in fact it is less the absence of poetic thoughts and sentiment; it is rather the heavy, unwieldy language in which the poetic dramatic ideas are couched that militates against him. The plot is told in a few words.
60First Act—(Scene, "King Etzel's" castle at Gran).—"Dietrich von Bern," our hero, lies wounded at "Etzel's" castle; the latter, on leaving for one of his military expeditions, had charged his wife, "Helke," to carefully attend to "Dietrich's" welfare. "Helke," however, is secretly in love with "Dietrich der Reusse," who also lies wounded in one of "Etzel's" dungeons. She devotes all her attentions and cares to her husband's prisoner and sadly neglects our hero. "Etzel," being sorely pressed by his foe, "King Waldemar," the father of "Dietrich der Reusse," pays his castle a flying visit to ascertain the progress of our hero's recovery. Upon learning the state of affairs "Etzel," in a fit of rage, charges his wife with treachery, whereupon "Helke" promises that she will not allow "Dietrich der Reusse" to escape to join his father's forces, in strength of which she pledges her own head. "Etzel" accepts the pledge and departs in haste. But young "Dietrich," not quite as chivalrous as "Helke" supposed him to be, escapes from the castle amid the greatest consternation of the queen and her attendants, after having tauntingly invited our wounded hero to ride with him. "Helke," in her great distress, bethinks herself of the neglected hero. She implores him to follow the younger "Dietrich" to capture him. "Dietrich von Bern," no doubt stung to the quick by the taunting remarks of the escaping knight rather than moved by the entreaties of "Helke," with superhuman efforts rises from his couch and after donning his martial attire sets out to capture the fugitive.
62Second Act (Saben's Castle in Esthland).—Our hero has overtaken the fugitive "Dietrich," and in a mortal combat the latter is killed; our hero, fatigued unto death, is led into the castle and carefully nursed by "Herrat," the niece of "Helke," who, together with her retinue, is retained in "Saben's" castle as prisoner. "Saben," on hearing of "Herrat's" guest, recognizes an old foe in "Dietrich;" he secretly enters the chamber at night with his men and is about to kill him in his sleep. "Herrat," however, had foreseen this, and, together with her men, arrives just in time to save "Dietrich's" life. "Saben" is killed and "Dietrich" and "Herrat" pledge mutual troth.
64Third Act (Shores of the Danube, near Gran).—"Etzel," surrounded by his warriors and courtiers, pronounces the death warrant over "Helke," the queen.
66"Etzel" is implored by all his followers to spare his wife, but he is inexorable. In the midst of this scene "Dietrich von Bern" appears with his bride "Herrat" and "King Waldemar." "Etzel's" formidable foe, as prisoner. The anger of "Etzel" is appeased, "Helke" is pardoned through the intercession of "Herrat," and the curtain falls.
68If now would give my impressions of the music set to this rather complicated plot I must confess that I was very much surprised. To think that old Draesecke, the symphonic writer, should be able to compose in this epigrammatic, highly dramatic style! Of course they say that Conductor Schuch has clipped and cut the work most unmercifully, but that does not alter the genuine dramatic and musical merits of the opus. What surprised me still more was the tender, beautifully poetic color of the second act, where "Dietrich" and "Herrat" meet. And even in the last act, containing as it does but very little action, the musical portion retains its youthful, vigorous and at times powerful character to a remarkable degree. Taken all in all, I consider "Herrat" Draesecke's most important and most surprising work, and it is a pity that the opus was not performed long ago; it might have encouraged the author to continue in this direction and sphere, while now I fear that Draesecke is too old to reap the artistic benefits of this tardy recognition. I found the old gentleman in his delightful bachelor's hall on the Bürgerwise, busy with corrections of the score. His rooms were
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