Scan 16
Musical Courier 1892-12-14: Vol 25 Iss 667, 1892
165 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 17. See the scan on archive.org.
1tentment," leading back to the same state of feeling as in the commencement, thus maintaining a unity and completeness. While each movement expresses a single phase of the idea of the work, it is a complete piece in itself.
3The allegro is written in what is called the first movement form, the principal form or the sonata form, and is the "highest logical expression of musical thought," and is employed in the sonata, a cyclical composition for one instrument, in the symphony, a cyclical composition for an orchestra, and in octets, septets, sextets, quintets, quartets, trios, &c., cyclical compositions for a certain number of instruments. The sonata form consists of two contrasted subjects, the principal subject, striking and spirited, in the key of the piece, and the second subject, singing and melodious, in the key of the dominant or parallel major, if the principal key is minor. The movement is divided into three parts and each part into subordinate parts, thus:
5Part I.—Thema section, principal subject in principal key; transitional section, a transition or introduction to second subject; modulations; song section, secondary subject in dominant, in contrast with first subject; closing section, imitations or new material; coda, followed by a return passage leading to a repetition of Part I.
7Part II.—Development portion, development of motives from first and second subjects or transition section, after which through free modulations the principal key is reached for the repetition or Part III.
9Part III.—Repetition of the whole of Part I., with the second subject and closing section transposed into the principal key. A coda more or less extended.
11The andante, second movement, may be written in song form, rondo form or sonata form, or it may consist of theme or double theme and variations. An andante is usually lyrical rather than thematic.
13The minuet is the only movement of the suite retained in the sonata. As the sonata developed, the "sportive, bright and delicate scherzo," which "floats, as it were, in the air," was found more suitable than the "slow and somewhat heavy minuet." Beethoven is said to have been the first to make this use of the scherzo. The title means "a jest, or sport."
15The rondo, from the Italian "round," is a round dance or circle song. It contains one principal subject repeated several times in the same key, and is followed by a refrain which modulates and returns to the subject; thus the melody goes "round and round." The small rondo form has two or three subjects with refrains leading to first subject. The large rondo form is written after the model of the sonata form, with period groups and slight variations in three parts. A sonatina means "little sonata," or a sonata of small dimensions, and a grand sonata, a sonata with elaborate dimensions.
17The finale or last movement of a sonata may be constructed in sonata form or rondo form, or may consist of a theme and variations. In this movement the characteristic expression of the first movement is most fully developed, and a prolonged cadence closes the movement.
19Berlin Events.—Two operatic performances of special interest were given in Berlin in October. On October 29 Mozart's "Figaro" had its 400th representation at the Royal Opera in that city. It took 102 years to reach that figure, its first performance having been on September 14, 1790. The other notable event was the 300th performance, on October 16, of Wagner's "Lohengrin," which was first given there on January 23, 1859. The manager had kept it in quarantine for nine years after its first performance before he accepted it; he thought it was not much of an opera any way and would not pay. And twenty years later the same manager repeated the same farce, the same number of years, with the "Nibelung'en Ring!" His name was Botho von Hulsen. In these 300 performances Betz sang the part of "Telramund" 178 times, Brandt that of "Ortrud" 96 times, Niemann that of "Lohengrin" 131 times. The part of "Elsa" was sung by Voggenhuber 71 times, Mallinger 63, Hofmeister, 44, Beeth 13, Hiedler, 22, Pierson, 27, Sucher 16.
21Leipsic Chamber Music.—The second concert of chamber music took place November 5. The strings were Prell, Rother, Unkerstein, Wilée, the clarinetist Kersner. The opening number was Verdi's E minor quartet, a novelty in Leipsic. The others were Beethoven's trio (op. 8) and Brahms' quintet (op. 115, B minor).
23A Strike of a Chorus.—At a late representation of "Cavalleria Rusticana" at the Opéra Comique, Paris, the chorus went on to the stage and then stood mute. The Commissary of police was called in, and the chorus declared that they had adopted this method to compel Carvalho to raise their salaries from 1,200 to 1,800 frs. a year.
25Westphalian Festival.—The Union of the Westphalian Music Societies have resolved to hold the third Westphalian Musikfest at Dortmund in 1894.
27A New Opera.—Alex. Ritter's one act opera, "Der faule Hans," is said to have made a deep poetic impression at Dresden. But the critic, Ludwig Hartmann, seems to doubt of its permanent success.
29Correspondence.
31Portland Music.
32PORTLAND, Me., December 2, 1892.
34MUSIC is somewhat dull at present, but the future holds forth some treats.
36Sousa's Band drew large houses on the afternoon and evening of the 26th ult., and gave general satisfaction, although some of their numbers lacked artistic finish. In the evening all the numbers save one were encored.
38The Conthoni-Whitney concert on Wednesday evening was well attended. Both these artists are old favorites here and are always well received. Whitney was in excellent voice and Miss Conthoni responded to a double encore. The Whitney Quartet sung well, but have been heard to better advantage.
40Next week we have Anton Seidl and the Metropolitan Orchestra for two evenings and a matinee. Emil Fischer and Miss Amanda Fabris are the soloists.
42Since the Haydn Society, of this city, has decided to go to the Columbian Exhibition, the rehearsals have been crowded, and new members are very plenty. Nothing like an inducement to bring forth talent.
44HERBERT SYDNEY HANAFORD.
46Kansas City Chronicles.
47KANSAS CITY, November 28.
49THERE has been an almost unprecedented dearth of musical attractions and concerts thus far this season. The political campaign has probably had something to do with the musical deficit, which, however, bids fair to be made good before the hot months of 1893. The near future gives promise of several things of especial interest to lovers of harmony. First point of importance is the initial performance of "Judith," a work by Alf. Chas. Moss, a local composer at the Coates Theatre December 1, 2 and 3. The engagement of Mrs. Selma Koert-Kronold and Mr. Bologna to interpret the leading roles, has given a professional tone to what would otherwise be classed strictly as amateur.
51The groundwork of the opera, for such it is, although the composer has termed it a "dramatic oratorio," is of incidents taken from the book of Judith, the third of the Apocryphal books, which were adjudged non-canonical by the council of Laodicea by reason of their having been written by profane writers and without divine inspiration. In brief the story follows:
53Nabuchodonosor, king of the Assyrians, marched against the Medes about 650 years before Christ, defeated them in battle, made captive their king, Phraortes—the Arphaxad of Scripture—and later put him to death. Returning to Nineveh, then in the height of its glory and beauty, Nabuchodonosor feasted his troops for 120 days.
55This feast is the opening of the eight scenes and four acts of "Judith."
57During the days of feasting the ambassadors sent by the king to the Jews asking aid in the expedition against the Medes, return in disgrace, having been insulted by the Israelites. Nabuchodonosor is enraged, and swears by the Assyrian gods, his kingdom and his crown, that the "barbarians" shall perish, and straightway orders Holofernes, commander of the Assyrian army, to proceed against the tributary and rebellious states, and not to return until the Jews have been destroyed. Holofernes finds that the Jews have closed the passages to the "hill country," and are prepared for war. In anger he asks: "Tell me who these people are that they will not come to war?" Achoir, an Assyrian general, volunteers:
59These people are descended from the Chaldeans,
60Who cast them out because they worshipped not their gods of stone,
61But worshipped their own God, Lord of Earth and Heaven.
62As they serve him, so they fare.
63Now if their God they have forsaken,
64We shall smite them and prevail.
65But if refuge they have taken
66In his power, we must fail.
68For this ill timed remark and implied insult to the supreme ruler, Nabuchodonosor, Achoir is delivered to the Israelite forces gathered at Bethulia. The city is besieged. The water supply has been cut off by the Assyrians and the surrender of the Jews must soon follow. The people assembled ask Osias, the high priest, to throw open the city's gates to the enemy. He asks and is granted five days. Judith, an Israelite maid, learning of the peril of her people, decides upon a heroic act of deliverance, and departs with her maid for the Assyrian camp. Sentinels conduct her to the tent of Nabuchodonosor, before whom she prostrates herself with words of flattery:
70The people of Bethulia
71Did save one Achoir, and he hath told us
72Of the words he spoke in council. And,
73Knowing them to be wise and true, I come
74To tell thee thou wilt conquer. For my people
75All have sinned against their God; and thou
76Shalt overcome them as a punishment.
77And I am sent by God to lead thee,
78At the proper time, and set thee in thy might
79On Judith's throne.
81Four days elapse, Holofernes is infatuated with the beauty of Judith, and on the fourth evening invites her to his tent. He partakes too freely of the sparkling cup and falls in a drunken stupor into the arms of Bagoas, his slave, and is laid on a couch. Judith motions for the slave to retire, seizes Holofernes' sword, and, after a prayer for strength, thrusts the weapon several times into the neck of the intoxicated general. As Judith drops the sword her maid enters, pulls down the canopy above the couch and envelopes the head of Holofernes in its folds. Judith escapes from the camp and is ushered into Bethulia by soldiers, who carry the head of Holofernes on a spear. There is great rejoicing. The Jews charge the Assyrian forces and defeat them with great slaughter.
83From the above it will be seen that the composer has taken considerable dramatic license. While "Judith" has many of the elements and characteristics of an oratorio, it cannot, with due regard for the unity, be classed as such. The prefixing of "dramatic" tends to bridge the chasm, but yet is lacking. "Judith" will be presented with special scenery, elaborate costumes, augmented orchestra and a good cast, which follows:
85Judith………………………………………Mrs. Selma Koert-Kronold one of two readings
86Judith…………………………………………..Mrs. Selma Koert-Kronold one of two readings
87Maidenservant of Judith…………………Miss Ella Van Stevenson one of two readings
88Maidenservant of Judith……………………….Miss Ella Van Stevenson one of two readings
89Amina the Queen………………………….Miss Lulu Newman one of two readings
90Amina the Queen……………………………….Miss Lulu Newman one of two readings
91Ladies of the Court—
92Selma………………………………………Miss May Bush one of two readings
93Selma…………………………………………..Miss May Bush one of two readings
94Rebeka……………………………………..Miss Millie Benson one of two readings
95Rebeka…………………………………………..Miss Millie Benson one of two readings
96Atalie………………………………………Miss Edith Knox one of two readings
97Atalie…………………………………………..Miss Edith Knox one of two readings
98Ahdonia a dancing girl…………………..Miss Blanche Judah one of two readings
99Ahdonia a dancing girl………………………..Miss Blanche Judah one of two readings
100Holofernes general-in-chief………………Mr. Bologna one of two readings
101Holofernes general-in-chief…………………….Mr. Bologna one of two readings
102Nabuchodonosor king……………………..Louis Jones one of two readings
103Nabuchodonosor king……………………………Louis Jones one of two readings
104Bagoas master of slaves…………………..Frank W. Richardson one of two readings
105Bagoas master of slaves………………………..Frank W. Richardson one of two readings
106Achoir a general…………………………Harry Haley one of two readings
107Achoir a general……………………………..Harry Haley one of two readings
108High Priests—
109Ammon…………………………………….R. Bryson Jones one of two readings
110Ammon…………………………………………..R. Bryson Jones one of two readings
111Chabris……………………………………R. Forest Russell one of two readings
112Chabris…………………………………………..R. Forest Russell one of two readings
113Charmis……………………………………R. B. Seymour one of two readings
114Charmis…………………………………………..R. B. Seymour one of two readings
115Osias………………………………………S. P. Rowley one of two readings
116Osias…………………………………………….S. P. Rowley one of two readings
117Generals—O. F. Bilger, A. B. Chase, S. P. Rowley and Mark Lovell.
118First Ambassador…………………………..Frank Wise one of two readings
119First Ambassador……………………………..Frank Wise one of two readings
120Second Ambassador………………………..C. M. Ulric one of two readings
121Second Ambassador……………………………C. M. Ulric one of two readings
123The chorus is large. Preparations for the presentation have been in progress for many months. Nearly 1,800 seats were subscribed for in advance of the public sale.
125"Judith" is the first pretentious work by a local composer that has been published, and the third within two years that has been given its premier here, "Chanticleer" and "The Grey Nun" being its predecessors. Francois C. Fisher Cramer is the composer of "Chanticleer" and Carl Busch of "The Grey Nun." As Mr. Moss is a local composer, more than usual interest is centred in "Judith."
127"Zephra," a spectacular opera by Prof. R. W. Averill, will be given an elaborate presentation at the Auditorium Friday evening, under the direction of the librettist and the auspices of the woman's auxiliary of Missouri's World's Fair commission. The proceeds will be devoted to the decoration of the Missouri Building at Chicago.
129The Kansas City Orchestral and Choral Society is actively rehearsing for a concert next month. The chorus numbers eighty voices and the orchestra forty members, about half of whom are professional musicians. Carl Busch is conductor. The chief work in rehearsal is Gade's "The Erl King's Daughter."
131The famous cowboy band, organized more than a score of years ago at Dodge City, Kan., will be heard in concert at the Auditorium to-morrow evening in a program in which Rossini's "Semiramide" is the heaviest number. Among the other numbers are a march, "Cowboy's Triumphale," by Jack Sinclair, the conductor of the band; "Across the Border" and a descriptive fantasia, "Life of Creede, or a Miner's Luck." Miss Marie McNeil and Charles Knorr, cornetists, are traveling with the band as soloists.
133Lawrence Robbins, pianist, who has been studying with Barth in Berlin for nearly a year, returned home to-day.
135Mrs. Ella Backus-Behr gave the first of a series of projected piano recitals at the rooms of the Gill Piano Company, 1018 Walnut street, Friday afternoon. Miss May Bush, soprano, and John Behr, 'cello, assisted.
137Lally Osier, a native of Copenhagen and a pupil of Toffe, concertmaster at the Royal Chapel in Copenhagen, is in the city and will probably locate here.
139Miss Lorena Searcy, one of the most prominent of local amateur pianists, has been appointed organist of the First Congregational Church, succeeding Frederick Marsh, who is now playing at the Calvary Baptist.
141HOWARD HUSELTON.
143The Columbian Exposition.
144WORLD'S COLUMBIAN EXPOSITION,
145DEPARTMENT OF LIBERAL ARTS,
146CHICAGO, November 15, 1892.
148THE bureau of music is desirous of arranging for a three days Festival of music, in the oratorio form, to be given in August, 1893, in the Festival Hall of the exposition, and in association with the exposition orchestra and distinguished soloists.
150The program will consist of three or four of the more familiar works, including Haydn's "Creation," Rossini's "Stabat Mater," and selections from Gluck's "Orpheus."
152All societies not invited to co-operate in the festivals appointed for the month of June, 1893, are hereby cordially invited to take membership in the proposed August festival chorus. It is also the earnest wish of the bureau of music that communities at present without an organized chorus will take steps at once to organize for the purpose of an appearance at the exposition as herein indicated.
154The only conditions of membership that the bureau will exact are:
156First.—Regular rehearsals and thorough preparation on the part of each society of the work chosen.
158Second.—Care that each chorus is properly balanced.
160The bureau desires to form a chorus of not less than 2,000 voices for participation in the proposed August festival. Any city or town that will agree to furnish a quota of not less than fifty voices will be eligible to membership under the conditions named. Should the total number of applicants largely exceed 2,000, the bureau will arrange for two festivals in August, having the same program, with a possible classification of Eastern and Western sections.
162As each branch of the proposed chorus must organize and rehearse as an independent body, without any expense to the exposition, choosing its own officers and director, and receiving from the choral director of the exposition only a general artistic oversight, immediate action should be taken by those communities which may decide to organize especially for the exposition. To all regularly organized oratorio societies not invited to participate in the June festivals a copy of this circular is specially addressed.
164Regarding the expenses involved by societies accepting this invitation: It is assumed that thousands of singers and music lovers will visit the exposition in any event, and that they will be glad to appear as contributors, thus conferring an importance upon their societies and their homes not possible under any other circumstances; that because of the pride they have in the opportunity the exposition will afford to show to the world the ar-
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