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Musical Courier 1893-12-27: Vol 27 Iss 720, 1893
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1December 6 1893.
3MAX VOGRICH'S opera "King Arthur" received its first production at the Neues Theater November 26th. Despite the almost general disapproval which this first performance elicited, Mr. Vogrich has no reason to lose confidence in his abilities. Of the countless musicians suffering from the prevalent epidemic of writing operas, he may consider himself one of the very few really ordained. His opera is far superior to most productions of recent years, especially those of the Italian school. The following criticism is written upon a hearing of the second performance, at which the dubious feelings awakened by reports upon the première were rapidly dispelled and changed to delight and admiration which prevailed and increased until the close. The audience, on this occasion very small, was again reserved; at opportune times there was always applause, but the manifestations of approval were not spontaneous, not enthusiastic—though they never are with small houses at the Opera.
5Both as dramatist and composer Vogrich has unusual aptitude. An opinion upon him as a librettist is reserved, not having sufficiently studied the text. In this first dramatic attempt he has created many situations and actions that are extremely effective and show extraordinary qualifications. True, sometimes the inclinations of a first effort—to crowd too many ideas into one work, to be sensational, so to speak—are apparent. Vogrich cleverly saves several scenes from a semblance of spectacularism by letting the curtain fall on a quiet, pathetic or impassive action. The same and only objection may be made to the music. The music never shows plagiarism, yet in many effects it is too apparent that the composer's prototype is Wagner. Why must most composers of the present day insist upon imitating Wagner? None can. None will, until one is born with his personality, his emotions and talents. What made Wagner great was that above all things he could censure himself; that he only gave himself, not imitations of great masters whom he idealized.
7It is not necessary for Vogrich to copy anyone. He has ideas of his own and has them plentifully. Furthermore, his opera is best when he forgets all prototypes and is himself. But when occasionally he strays into imitations, then, and only then there is noise. Yet this is so seldom and for so short a time that the current reports of "a noisy opera" are the grossest injustice. In addition, these unhappy moments are mitigated, because they occur for the most part in the preludes and during spectacular commotions. The various parts are carried out with the utmost consistency and dramatic verity. Likewise concordant are the situations, especially those where the action is confined to few.
9Mr. Vogrich may be earnestly urged to continue applying his great talents in the direction taken. As has been the case with most great works, "King Arthur" will not be readily appreciated by a general public. Unlike the sensational fashionable operas, this work will have to battle for a place, but this once won will be lasting. If the opera should not prove an ultimate success with the public, Mr. Vogrich may have the satisfaction that many other creations of the highest worth have fared likewise. An opera composer ventures a great deal, almost everything, upon one trial. If the répertoire of the opera in New York should be enlarged by modern works, "King Arthur" by reason of intrinsic worth has one of the first claims for consideration.
11The following may give an idea of the plot: "King Arthur," turning from the water spirits, has taken a consort, and for this disloyalty they prophesy the loss of his magic sword "Excalibur," dissensions in his domains, as well as disgrace through "Lancelot." "Lancelot," a hero of the count, is enamored of the "Queen Ginevra," and in the first scene the two, after battling with pride and scruples, part with confessions of mutual adoration. In the next scene, "Lancelot" having been wounded and for many months nursed by "Elaine," the daughter of "Astolat," has unwittingly won her love, a feeling which he does not return, and which it pains him to be informed of by her father, who, to cure his daughter of her infatuation, persuades "Lancelot" to take a cold farewell and offend her. In consequence the girl dies broken hearted.
13The second act shows the court of "King Arthur." There is general rejoicing upon "Lancelot's" return. Subsequently left alone with the "Queen," she upbraids and spurns him. Then a bier is carried in and placed before the throne. On it is the corpse of "Elaine," whose dying request was to thus deliver a letter to the "Queen." "Lancelot," in bitter regret, wishes to do penance and completely renounce the "Queen." Her infatuation being thereby rekindled a great scene ensues, which is witnessed and brings about the catastrophe. Being disappointed in the wife he idolizes, "King Arthur" sends her to a nunnery, is charitable to "Lancelot" and himself goes into battle. In the last act, wounded and dying, he reconciles the spirits by having his only attendant hurl his magic sword into the sea, when a vessel approaches to carry him to eternity.
15The performance was exemplary. Miss Doxat, as "Ginevra," gave a masterly exhibition of dramatic singing which left absolutely nothing to be wished for. The part is excellently suited to this great and conscientious artist. Miss Dönges' singing as "Elaine" showed a marked improvement. She carried the part through very satisfactorily. Miss Osborn, as the son of "Astolat," did exceedingly well. Her beautiful voice is rapidly receiving a high development, while her acting would be creditable to one of many years' routine. Mr. De Grach's singing of "Lancelot" in many respects could have been improved upon materially. Mr. Schelper for the greater part was at his best, which expresses a great deal. The rôles of "Astolat," Mr. Wittekopf, and "Bedivere," Mr. Knüpfer, were in the hands of as excellent artists as could have been desired.
17The Akademie Verein's custom of giving the old masters representation at their first concerts each season has brought to light many a gem. It is only to be regretted that most of these, after having given enjoyment on the one occasion, are again relegated to obscurity. When an enterprising conductor like Professor Kretzschmar reveals hidden treasures, and when these are truly revelations to the audience, it shows the utter absence of a democratic spirit with contemporaneous conductors who refuse or neglect to introduce them at their concerts. In following the programs of concerts everywhere, one cannot help being impressed with the limited répertoire of most orchestras and conductors. The usual cause is that they look to modern composers for worthy additions, and, with only occasional exceptions, vainly so. Why not study and choose from the wealth already provided? Of course this requires ability, judgment and opportunities.
19The conservative tendencies in Leipzig are very propitious to such efforts, and when the Akademie Verein brushes the dust off some forgotten gems they always have as satisfactory a reward as can be found in enthusiastic appreciation.
21At their second concert the overture by Johann Dismas Zelenka (1728) was one of these noteworthy numbers. Taking this as a criterion of the composer's abilities, Moritz Fürstenau is justified when in his history of music he mentions Zelenka in the same breath with Bach and Händel. Exemplary in form, brilliant and original in construction, the middle movement a masterpiece in polyphonic composition, this overture must have an irresistible charm to musicians; and on this occasion, as a first number on the program, was very successful with the audience. The "Reigen Seliger Geister" and "Furiantanz" from Gluck's "Orfeo" (1764) might with equal right claim a prominent place in the répertoire of every good orchestra. How restful such music is to one surfeited with daily concerts of modern music! Carl Reinecke played the Mozart C minor concerto with even greater success than at the Gewandhaus on the occasion of his anniversary. The Haydn symphony in D closed this excellent and highly enjoyable program. After an evening of such music one is again strengthened for the routine diet.
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25Beethoven's "Eroica" symphony and Cherubini's "Abencerragen" were played unusually well at the eighth Gewandhaus concert. Both orchestra and conductor were at their best. Miss Margarite Voretzsch, from Halle, played the Schumann concerto, "Chromatic Fantasie" and fugue, Bach, and capriccio, op. 76, No. 2, Brahms. She is quite an acceptable player, but no artist, and certainly only artists ought to be engaged for Gewandhaus concerts. One hears such efforts at conservatory commencements, and for them the coveted diplomas are awarded; but from that stage to the one of an artist is yet a long way. At less pretentious concerts the playing of Miss Voretzsch might be highly commended. But why do players of this class play Bach in public? Do they imagine that when they strike all the notes they are playing Bach? All second-class players seem to have an especial design upon the "Chromatic Fantasie." No wonder the public does not appreciate Bach! They seldom, if ever hear his works played. Pianists may study Bach, but only the greatest artists should play his compositions in public.
27Francisco d'Andrade, though not in perfect voice, proved the best male singer heard in Leipsic for a long time, and the audience, as is always the case when a true artist appears, was not long in finding that out. He has a magnificent high baritone perfectly cultivated, and sings with a highly artistic temperament. His numbers were: Aria from "Hans Heiling," Marschner; aria, "Tommaso," Giordini; "L'étoile," Faure.
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31D'Albert's program at his second recital, December 4, a decided contrast to his first, was: Suite Anglaise No. 6, Bach; sonate op. 10, d'Albert; nocturne, op. 9, No. 3; polonaise, op. 44 and scherzo, op. 20, Chopin; fantasia, op. 17, Schumann; giga con variazioni, Raff; and rhapsodie Espagnole, Listz. D'Albert was unusually well disposed. The largeness and singing qualities of his tone appeared to the best advantage. As played on this occasion, even the musically uncultured would understand and appreciate Bach. The English suite and d'Albert's own sonate were probably the numbers most highly appreciated by the audience and, like the suite, d'Albert's sonate will only be effective when played as he played it; then, however, it is a revelation (to all but those who are too busily occupied trying to establish who inspired the ideas). Of the Chopin members the scherzo and polonaise were more satisfactory than the nocturne. Apropos of the nocturne, does anyone beside d'Albert fancy the habit of repeating one note for effect ever so many times after some passage or part before proceeding?
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35Carreño, who was one of the most attentive listeners—and for whom d'Albert, judging by his looks, seemed to
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