Scan 12
Musical Courier 1893-01-04: Vol 26 Iss 670, 1893
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1about the new opera, whereupon Grunfeld said: "Well, it will soon be 'Gewesius,' and not 'Genesis.' This has certainly proven true, as Weingartner himself withdrew his opera from the répertoire, it having been a failure.
3A well-known pianist and one who has many friends on your side, Miss Adele Mandlick, gave a chamber music concert on Friday, December 9, when she was assisted by Miss Adeline Herms, of Berlin, a soprano; Messrs. Max Lewinger (violin), Luka (cello), and Jellinek (violin) and Desing (viola). The program was as follows:
5Clavier quintet, F minor, op. 34. Johannes Brahms
6Memnon. Franz Schubert
7"Mit Myrthen und Rosen". Robert Schumann
8"Wanderschwalbe". Anton Rubinstein
9"Ich gieng im Wald". B. Horwitz
10Sonata, E major, op. 109. Beethoven
11"Gebet". E. E. Taubert
12"Es muss was wunderbares sein". Franz Ries
13"Nachtigallen". A. Amedei
14"Zwischen uns ist nichts geschehen". A. Zarzicky
15Clavier quintet, F major, op. 18. Anton Rückauf
17Miss Mandlick, a pupil of Epstein, is particularly well adapted to play chamber music, and acquitted herself with great success. Miss Herms, a good singer, comes from Berlin, where she is well known.
19Max Lewinger, the violin virtuoso, gave a concert on Wednesday, December 7, when he played Wieniawski's concerto in F sharp minor, No. 1, which was heard for the first time in Vienna on this occasion. The other solos were:
20Sarabande and Bourée. Bach
21Nocturne, No. 2. Chopin-Wilhelmj
22Saltarelle. Vieuxtemps
23Airs Hongrois. Ernst
25Mr. Lewinger was assisted by Miss Franziska Reich, a promising young soprano.
27Mr. Herman Grädener, who is pleasantly remembered as the conductor of the Symphony Orchestra at the International Exhibition of Music last summer, has just received an invitation to conduct the Berlin Philharmonic concerts next season, but owing to his permanent engagements in Vienna he refused the flattering offer.
29The second Gesellschafts concert, under the direction of Wilhelm Gericke, was given Sunday, December 11, in the Musikvereins Saal, when Verdi's requiem was performed. The singers engaged were: Gilboni, soprano, from Turin; Pasqua, mezzo soprano, from Milan; Marconi, tenor, from Madrid, and Navarrini, basso, from Naples. Every seat in the hall was sold, and there must have been upward of 4,000 in the audience. In the royal box were Crown Princess Stéphanie and Archduke Karl Ludwig, brother of the Emperor. The soloists acquitted themselves with great credit, Marconi easily leading all others. He is without doubt the finest tenor that has been heard in Vienna for many a year and created a furore after his solo. The chorus and orchestra were splendid, and Mr. Gericke conducted with his usual energy and precision.
31Verdi wrote this requiem in honor of Alessandro Manzoni, the celebrated poet of "Promessi Sposi" and it was produced for the first time in 1874 in the Dome of Milan. After this Verdi personally conducted his work in several large cities of the Continent. In Vienna it was heard for the first time in 1875 in the Royal Opera House, and yesterday's performance was the first in a concert hall. The next concert of this society comes off January 8, when the "Creation" will be sung with Henrietta Standhartner (soprano), Gustav Walter (tenor), and Franz von Reichenberg (basso) as soloists. Winkelmann, the tenor, has been sick lately, and instead of "Götter-Dammerung" last night, "Der Fliegende Holländer" was substituted. Massenet's "Werther" and "Manon" still prove good drawing cards and Brull's "Gringoire" and "Das Goldene Kreuz" are also frequently given.
33Richard Henberger's new opera "Mainacht" will be heard for the first time here beginning of January, Winkelmann singing the leading tenor rôle.
35Mr. Alexander Rosé, the well-known music publisher, was married last week to Miss Bott, an English lady residing in Vienna. Arnold Rosé, the violinist, was the best man, and the newly married couple are now on their wedding trip. A new operette, "Edelweiss," by Karl Komzak, the popular and well-known bandmaster of one of the best regimental bands in Vienna, was produced to-night at the Carl Theater scoring a great success. The operette was brought out last spring at the Gartnerplatz Theater in Munich, under the composer's personal direction.
37There are only a few concerts between this and the new year, everybody being occupied with Christmas, but a great number of entertainments are already advertised for January.
39RUDOLPH KING.
41The De Reszkes.—Jean de Reszke and his brother Edouard have arrived in Paris, and they have now definitely promised Mr. Bertrand, the director, to take part in certain special representations at the Paris Grand Opéra in January and February. This will be the first appearance in public of the eminent operatic tenor since the serious illness which cut short his engagement at the Royal Italian Opera last summer. Afterward, it is understood, he will sing at Monte Carlo, returning to England in May for the Covent Garden season.
43Berlin Letter.
44BERLIN, December 18, 1892.
46THE subsequent program of the Gesang-Abtheilung des Stern'schen Conservatoriums, presided over by Miss Jennie Meyer, the famous vocal instructor, took place on the eve of December 9 at the Singakademie. Kapellmeister Arno Kleffel wielded the baton. The concert confirmed the fame of the school, devoted to serious and artistic work. The school well merits the liberal patronage it enjoys. Those coming to Berlin to study vocal music should seriously consider the claims of this school—a veritable nursery of fine vocalists. The various songs were interpreted musicianly. The songs of Arno Kleffel deserve more than a passing notice. They are beautiful in every respect, faultless in form, interesting in the harmonies and charming in melodic invention.
48The "Maitag" of Rheinberger, too, is a suite of songs of ravishing beauty.
50Jenny Meyer
51mit der Gesangs-Abtheilung des Stern'schen Konservatoriums. Herr Kapellmeister Arno Kleffel hat die Direktion gütigst übernommen.
53PROGRAM.
541. Salve Regina für Frauenchor und Sopran solo. Friedrich Gernsheim
55Solo: Fräulein Johanna Kratzke.
562. Zwei Lieder.
57a. An die Musik. Schubert
58b. Ungeduld. Fräulein Anna Doehle.
593. Zwei Lieder.
60a. Frühlingsfahrt. Schumann
61b. Wanderlied. Herr Richard Immelmann.
624. Maitag, ein lyrisches Intermezzo für dreistimmigen Frauenchor. Josef Rheinberger
63No. 1. Früh Morgens. No. 4. Reinspiel.
64No. 2. Ballade. No. 5. Heimfahrt.
65No. 3. Mittagsruhe.
665. Scene und Arie aus: "Die Afrikanerin". Meyerbeer
67Fräulein Fanny Opfer.
686. Drei Lieder.
69a. Ninon. Tosti
70b. Duftet die Lindenblüth. Arno Kleffel
71c. Trabant. E. E. Taubert
72Fräulein Ottilie Fellwock.
737. Zwei vierstimmige Lieder a cappella (manuscript). Arno Kleffel
74a. Schlummerlied für Endymion.
75b. Blüthenglocken.
768. Sieben Lieder.
77a. Mignon. Schubert
78b. Es blint der Thau. Rubinstein
79c. Widmung. Schumann
80Fräulein Martha Schereschewsky.
81d. Ruhe Süßlilchen. Brahms
82e. Frühlingslied. Mendelssohn
83Fräulein Gertrud Bennecke.
84f. Ich Liebe Dich. Grieg
85g. Er ist's. Schumann
86Fräulein Kratzke.
879. Drei Gesänge für Frauenchor.
88a. Tanzlied im Mai. E. E. Taubert
89b. Sommernacht. Heinrich Hofmann
90c. Frühlingslied. Woldemar Bargiel
92Sigismund Stojowski gave on December 17 a Klavier-Abend at Bechstein Hall. It cannot be denied that Stojowski has serious intentions, but, alas! misguided ones, as far as the interpretation of the Beethoven sonata and the Schumann numbers are concerned. The sickly, languishing sentimentality he affixes to Schumann is unwarranted. Schumann was a gifted poet ere he became a musician. His musical works have a poetic basis. This basis must be taken into consideration when formulating the conception of his musical works. The neglect or the ignoring of the poetic substratum is the reason that we have so very few real Schumann interpreters. If Stojowski would retire from the concert stage for two or three years and study Vortrag under some authority, much might be expected from him. Here was his program:
93"Sonate Es-dur," op. 31, No. 3. L. v. Beethoven
94Allegro.
95Scherzo (Allegretto vivace).
96Menuetto (Moderato grazioso).
97Presto con fuoco.
98"Des Abends". R. Schumann
99"Aufschwung"
100"Warum"
101"Grillen"
102Fantasie, op. 49. F. Chopin
103Legende. J. J. Paderewski
104Scherzo.
105"Gondoliera". S. Stojowski
106"Au Soir"
107Humoreske. L. Zelenski
108Étude symphonique. C. Chaminade
109Badinage. Th. Dubois
110"Mélodie". M. Moszkowski
111"En Route," concert étude. B. Godard
113Joseph Hofmann, the musical boy prodigy, is seriously sick with the measles.
115Eugen d'Albert, Therese Carreño-d'Albert and Moritz Rosenthal are booked to play in Berlin during January.
117The students of Prof. Heinrich Urban who compose for grand orchestra had their works performed at the Concert Haus on December 14. The suite of Freiherr von Ledwitz, the former German Ambassador to Mexico, proved a work of decided merit.
119Merry Christmas and Happy New Year to The Courier staff.
120VON ESCHENBACH.
122Fannie Bloomfield-Zeisler.
123THAT "Bernhardt of the piano," Fanny Bloomfield-Zeisler, has met with her usual enormous success this season. At Chicago, December 3, she played with the Thomas Orchestra Saint-Saëns' C minor concerto, and this is what the Chicago "Times" said:
125Mrs. Fannie Bloomfield-Zeisler was the pianist. She gave a wonderful performance of the concerto. Her playing was forceful in the extreme, and the clearness of touch in the declamatory phrases showed a marvelous command of the instrument. Chicago has in the person of Mrs. Zeisler one of the greatest living pianists. Her playing is full of fire and passion and her technic is complete. The enthusiastic applause which fairly overwhelmed her at the close of the concerto showed the appreciation of the audience and was a gratifying mark of intelligence. She was recalled again and again and finally went to the piano and played Tausig's transcription of Schubert's military march as it has never been heard here before. She did not spoil it, as most players have done, by taking the tempo too fast, and her wonderful command of the instrument was ably shown in the variety of tone color. Chicago may safely claim that Mrs. Zeisler is the greatest lady pianist of the day.
127Mrs. Zeisler plays the piano as only few dare to, and Chicago alone need not make the above claim. She plays better than most men, and she has a temperament among temperaments. Here is a synopsis of her work since the end of last November:
129Worcester (Nikisch) November 22, orchestra
130Thomas, Chicago December 2, " 3, "
131Council Bluffs December 8, recital
132Omaha December 13, " 8, "
133Milwaukee December 15, orchestra, matinée
134Buffalo, symphony December 15, evening
135Memphis December 17, recital
136Nashville December 19, " 19, "
138She plays recitals at the following places:
139Chicago January 10
140Chicago January 14
141Hollidaysburg, Pa. January 18
142Elmira, N. Y. January 18
143Poughkeepsie, N. Y. January 30
144Baltimore, N. Y. January 21
145Lebanon, Pa. January 25
146Delaware, Ohio January 26
148She also tours a week with Theodore Thomas in April, in Buffalo, Pittsburg, Cincinnati and other cities.
150Berlin Branch Budget.
151EUROPEAN HEADQUARTERS OF THE MUSICAL COURIER.
152BERLIN, W., Linkstrasse 17, December 13, 1892.
154IN remarkable contrast with German musico-dramatic art, in which since the death of Richard Wagner hardly anything of note has been produced, Italian contemporary composers seem to have struck a new Renaissance period. Italy, moreover, is no longer dependent, as she was up to a short time ago, upon the aged but as yet by no means senile efforts of Verdi, but "the sons of Palestrina," as the Nestor of Italian composers recently called his confrères, are putting forth ample proofs that the cloak of their renowned predecessors has really fallen upon their shoulders.
156Nowhere, however, except of course in Italy itself, is the young Italian school received more generously, more quickly, with warmer enthusiasm and real understanding than exactly in Germany, and the cause may partially be found in the fact that these modern Italian writers combine with the full southern blood of their native inspiration and their natural melodic flow an earnestness of method and sincerity of musico-dramatic expressiveness which was absent in most of the operas of the old Italian school and which, on the contrary, is the chief characteristic of Wagner's works.
158Of Mascagni's successes it would be carrying coals to Newcastle to entertain you. But three works by other Italian composers are drawing the attention of the North German public to the land of song. "Mala Vita," the première of which was postponed several times on account of Stagno's illness, will be produced for the first time to-night at Kroll's, where "A Santa Lucia" has had a most successful run. Of the "Willis," which was brought out at Hamburg recently, both the Berlin and Hamburg papers spoke in most glowing terms, and it is asserted by the critics that the work, which is eight years the senior of the certainly overrated "Cavalleria Rusticana," has given to Mascagni more than one theme for his prize opera, and that, in fact, the maudlin intermezzo from the latter is nearly completely constructed upon material taken from the "Willis."
160However that may be, one thing is sure, that the work which received the second prize at the now famous Sonzogno competition, Leoncavallo's "Pagliacci," is by far the superior of the two. There seems no doubt, either, that the judges thought so too, only as the "Pagliacci" is in two acts, headed by a short prologue, and did not
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