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Musical Courier 1892-09-07: Vol 25 Iss 654, 1892
87 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 10. See the scan on archive.org.
1The New York Philharmonic Club.
3The New York Philharmonic Club is now in the fifteenth year of its existence. With pardonable pride can Mr. Weiner, its founder, look back upon an unbroken number of years of triumph. When first called into life it was but a dream of six music loving enthusiasts, who longed for the opportunity of delving into the treasures of a class of music by which the names of the greatest composers of all times have been immortalized. The classic beauty and simplicity of this music was then a closed book to mostly all the people of this country. It was contemplated in the program of this club to give a few public subscription concerts during the winter.
5It was an experiment. It was not long before the club was invited to neighboring towns; and as the fame of these excellent concerts spread abroad, yearly widening the circle of their friends and admirers, it has become necessary to make the most elaborate preparations in trying to satisfy the demands for the coming season, that it may be possible to go through the whole of the United States and Canada without slighting their old friends nor neglecting their new.
7It speaks well for the taste and musical capabilities of the people of this country that, from a start of six concerts during the first year, the club should now have to travel eight months, playing in another city every night, and still find it impossible to fill all the engagements and applications for concerts which are continually being received by its management.
9Such popularity could be obtained only by the strictest attention to the purposes of the club, and the most excellent work by each of its members; and although from time to time there have been changes in the personnel, the spirit, ability and enthusiasm have ever been in the ascendency until now the club can challenge comparison with any organization of its kind in the world, and not be afraid to lose the palm, which has been merited through years of struggle and work. Indeed, the excellence of each member of the New York Philharmonic Club is such that a program of unlimited numbers could be arranged, and with it all could be maintained the greatest possible variety, if it were not for the time limit which ought to be considered in a first-class concert. The New York Philharmonic this season consists of the following artists:
11Mr. Eugene Weiner, the director of the club, as flute virtuoso.
13The brothers Johannes and Paul Miersch are virtuosos on their respective instruments, the violin and 'cello. Max Dick, a son of Minnesota, has, in spite of his youth, won the well merited admiration of numerous audiences in both hemispheres; and Mr. Geo. F. Sauer, their viola soloist, and also William Augermünde, who presides at the double bass, have held the most flattering positions in celebrated orchestras here and abroad, while the admirable and attractive vocalist, Miss Marion Weed, who is to assist the New York Philharmonic Club for the second year, has gained many triumphs with her sympathetic voice and finished style.
15Correspondence from Germany.
17BAYREUTH, AUGUST 15, 1892. one of two readings
18BAYREUTH, August 15, 1892. one of two readings
20President E. M. Bowman, his estimable wife and daughter, the artist Adele Lewing, from Boston; Mr. Fred. Law, from Philadelphia; Mrs. J. B. Foster and Miss Charlotte Bingham, the latter from Cleveland, are attending the Festspiele.
22Spellbound our party descended the hill of the Festspielhaus after hearing "Parsifal." Moved in the innermost depths of my soul, I felt that "Parsifal" was indeed a Bühnen weihe, a consecration of the operatic stage to a higher purpose—yes, to the highest ideals of the human mind and heart. "Parsifal" is an incarnation of the wildest hopes and aspirations of our art, but also crushing despair to many an ambitious composer. Yes, "See and hear 'Parsifal' and die" rings no doubt in many a composer's ears. If the ninth symphony is despair to instrumental composers "Parsifal" is of no less significance to operatic aspirants.
24When I asked Bowman about his impressions he could but press my hand, so deeply was he moved. Miss Lewing exclaimed: "My own inner self is crushed! It is too overpowering, too beautiful!"
26"Parsifal" was directed by Levi. Singers who take part in these plays you can hear elsewhere, but nowhere an orchestra as in the Festspielhaus.
28Van Dyk impersonated "Parsifal." He is a great artist and portrayed such a "Parsifal" as Wagner must have had in mind. Aside from a voice of wondrous beauty and flexibility his dramatic conception of the character "Parsifal" is simply sublime.
30Miss Malten, as "Kundry," fully grasps the demoniac. She appeared as the incarnation of passionate and overpowering fury. Plank as "Klingsor" exhibits the evil spirit of the Grail in no questionable way. Immaculate vocalization and tone connection, as well as clearness of language, characterize his singing.
32Scheidemantel as "Amfortas" did more than justice to the interpretation of this difficult character and sustained his great fame.
34The chorus of the "Blumenmädchen" was artistic and absolutely ravishing.
36The chorus of the "Gralsritter" left nothing to be desired.
38The mounting and illumination are well known to be unsurpassed.
40Mrs. Cosima, Siegfried Wagner, Eva Wagner and the Misses Bülow were in attendance. The house was sold out to the last seat. Hundreds left the ticket office disappointed. Speculators sold gallery tickets at 40 marks.
42The production of "Tannhäuser" was no less satisfactory. Mottl conducted. The orchestra, the soloists and chorus presented a wonderful ensemble.
44Mailhac rose to the greatest artistic height in "Venus." The first scene was given according to the "Parisian" version. The seductive and all fascinating character of "Venus" found in Mailhac an interpreter of the highest order. Gruenig as "Tannhäuser" proved very satisfactory, notwithstanding the sharp edge of his voice.
46"Wolfram" as portrayed by Kaschman could be improved upon.
48Scheidemantel is decidedly stronger in this part.
50Wiborg, as "Elizabeth," exhibits a noble and resonant voice, and the feminine of her character appears in relief.
52"Tannhäuser" received a sublime interpretation, take it all in all.
54"Meistersinger" proved less satisfactory, I must confess; it has been better played in Berlin. Compared with the splendor and magnificence and grandeur of "Parsifal" and "Tannhäuser," its effect was tame. This opera need not be heard at Bayreuth. Generally speaking the less significant artists interpreted. Anthes, as "Walther von Stolzing" and Plank, as "Hans Sachs," were strong cards, however.
56In company of Mr. E. M. Bowman and family, Miss Adele Lewing and Mr. Fred. Law, we paid our homage at the graves of Wagner, Liszt and Jean Paul Richter, visited the Villa Wahnfried, strolled about under its beautiful arbors, and took also a look at the houses where Liszt and Jean Paul Richter died. Mr. Bowman with his camera took all Bayreuth and vicinity to the United States. Mr. Bowman and your correspondent were graciously received and entertained by Baron Hans von Wolzogen. We learned there that it was seriously considered to give the "Niebelungen" in 1894, but if the preparations could not be summarized in time the present cyclus would be substituted. In case of death of Mrs. Cosima it is thought that Siegfried Wagner will succeed her in the management. Siegfried Wagner conducted recently one scene of an opera, and higher hopes than formerly are now entertained of his future.
58Berlin papers have spoken much of the exorbitant prices for lodging. I have been unable to verify this. Room and lodging can be secured as low as 3 marks, or 75 cents, per day. To-night I shall hear once more "Parsifal." Tickets are not now to be had for love or money!
60VON ESCHENBACH.
62P. S.—Miss Adele Lewing will return to Boston in the early part of October. Mr. Bowman and family return to New York in the middle of September. Miss Lewing and your correspondent leave to-morrow for Nuremberg.
64BAYREUTH, August 16, 1892.
66The demand for tickets to the Festspiele is daily increasing. For last night's performance of "Parsifal" 40 and 45 marks per ticket were readily realized. Cosima is growing more slender than ever and older. Her physiognomy is becoming more Liszt-like; her hair is perfectly white, but her eyes retain their brilliant lustre. Siegfried Wagner looks like an ordinary mortal, like an unstarched shirt. Professor Marstellar, of Dayton, Ohio, came to hear "Parsifal."
68NUREMBERG, August 17, 1892.
70Nuremberg, the home of the Meistersingers, the jewel box of medieval art. Here, within a short space of time, Albrecht Dürer, Peter Vischer, A. Krafft, Veil Stoss, Hans Sachs and other celebrities lived. A trip to Nuremberg is sufficient to cure those who depreciate mediæval art. In "Tannhäuser" Wagner introduces an almost exact copy of the Sängersaal of the Wartburg. In "Meistersinger" he introduces the houses of Pogner and Sachs and the intervening street. I find the scene an almost exact copy of this locality in Nuremberg, save that the shop of Hans Sachs is not quite so near the corner of the street. Sachs' house is now a butcher shop, with a memorial tablet. The colossal statue of Hans Sachs upon the Spitalplatz is a masterwork, and shows that in this branch of art we are approaching near the lines of Hellenic art.
72Two celebrated frescoes of the "Meistersinger" deserve to be mentioned; the one by Albrecht Dürer in the Kaisersaal of the Rathhaus, the other by Holbein in the Kathrinenkirche. The museum contains part of the original of Wolfram von Eschenbach's "Parsifal" and also of the original of the "Niebelungenlied."
74The Bratwurstglöcklein, the Stammkneipe of the "Meistersinger," is still in existence, and delicious morsels of Bratwurst and Sauerkraut are to be had as of yore. The beer mug of Dürer is still in existence and autographs of celebrities of all countries who have visited the Glöcklein, a Kneipe as celebrated as Auerbach's cellar in Leipsic, adorn its walls.
76Adieu, dear Glöcklein. No Kneipe can excel you in Bratwurst and Kraut.
78REGensburg, August 18, 1892.
80Regensburg, for our times the seat of the reform of Catholic Church music and the birthplace of the Cæcilian Verein, is beautifully situated on the Danube. As many Catholic organists and musicians read THE MUSICAL COURIER, I will add some facts not usually known: The father of the reform is Dr. Proske, who in 1846 studied at Rome the works of Palestrina, Orlando di Lassus and others, under Biani, the last celebrated director of the Sistine Capella. After his return to Regensburg he interested Mettenleiter and Schrems. The students of the Ecclesiastical Seminary composed the first choir, and the late Dr. F. X. Witt, founder of the Cæcilian Verein, was one of the members of this first choir. Dr. Hanisch, the present Dom organist, one of the greatest contrapuntists of our times, and who has been now sixty years at his post as organist, took upon himself much of the work. By the way, he is the picture of the late Kullak. Your correspondent was royally entertained by Dr. Hanisch, and to-morrow morning the choir is directed to sing for me.
82There is also a well equipped church music school in Regensburg, under the well-known Dr. Haberl, author of many works touching the Gregorian chant. The students are limited to the number of twelve. Only such as are well advanced in counterpoint are accepted.
84WALHALLA, August 19, 1892.
86Walhalla (mythologically the celestial abode of Odin or Wodan), an exact copy of the Grecian temple, the Parthenon of Athens, was built by King Louis I. of Bavaria,
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