Scan 14
Musical Courier 1894-02-14: Vol 28 Iss 727, 1894
139 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 15. See the scan on archive.org.
1having been interested. His serenade in D major, op. 11, really proved rather tedious at the fourteenth Gewandhaus concert, and when the sixth and last movement was finished a great many sighs of relief floated in the air. Whether the failure to arouse enthusiasm was with the interpretation or playing I will not venture to say; the conductor and orchestra seemed to do their best. The other orchestra numbers were: Overture to "Flying Dutchman," Wagner, and an andante from First symphony, Weber. The overture was noisily but not very effectively played. The andante was worth listening to.
3Alexander Siloti played the "Wanderer" fantasia, by Schubert-Liszt, with orchestra, very well; much better than his unaccompanied numbers, fantasia, op. 49, and etude No. 26, A flat major, Chopin, and Fourteenth Liszt rhapsodie. That he is so successful with the public is probably due rather to a beautiful singing tone and clear scale than superior musicianship or infallibility of technic. In the Liszt rhapsodie the wrong notes struck were numerous, but that might have been forgiven had he found the proper character for a Hungarian rhapsodie. The etude was the best played of the three. The audience heartily applauded Siloti and the Wagner overture.
5* * *
7The Academie Verein gave their fourth concert January 16, with the following program:
9PART I.
10Overture, Nachklange vom Ossian, op. 1……………………………Gade
11Concerto, E minor, op. 11……………………………………………..Chopin
12Overture to Russian and Ludmilla………………………………….M. Glinka
14PART II.
15"Harold in Italy"………………………………………………………..Berlioz
17Even the greatest enthusiasm for Berlioz cannot dispel a very serious doubt as to the correctness of his judgment in allotting so prominent and continuous a part to an instrument whose limitations are so clearly defined. The viola tones, especially on the E string, cannot but offend a sensitive ear by their nasal quality. The viola part technically was acceptably played by Professor Ritter, from Würzburg, but the tone effect was rather rough.
19Mrs. Clara Kretzschmar, wife of the conductor of the concerts, was the pianist, and as such afforded a pleasurable surprise by the excellence of her playing. The clearness and brilliancy of her runs are especially worthy of mention, as well as her superior musicianship.
21Nothing favorable may be said of the Gade overture, but again the Glinka overture shows bright rays of genius. The symphony and the playing of Mrs. Kretzschmar were very liberally applauded.
23* * *
25Another wonder child was presented to the Leipsic public at the Altes Gewandhaus January 19. It was a thirteen year old girl, Josephine Gerwing, violinist, from Cologne, this time. Dr. Otto Neitzel, pianist, and Mathilda Haas assisted. The girl is far from being ripe for the concert hall. Her tone is sympathetic and very large—larger than many of her matured male contemporaries of fame—but her technic is quite inadequate. She attempted to play the Bruch concerto, andante from Holländers's concerto, mazurka by Zarzycki, and ballade and polonaise, Vieuxtemps. The last movement of the concerto and the mazurka were badly mangled. It is a question who is to be censured most for the child's appearance in public, the teacher or the parents.
27This seems to be another case where the vanity of elders will probably ruin a genius.
29Mathilda Haas' singing was unsatisfactory. Dr. Neitzel played Chopin's B minor sonata, and some pieces by Bargiel, Friedmann, Bach and Balakireff in a scholarly manner.
31Blodek's one act comic opera, "Im Brunnen," since its first production here some two months ago, has proven it-
33self to possess excellent wearing qualities. It has repeatedly been given and has become quite popular. I believe the best antidote to the "Cavalleria" and "Pagliacci" epidemic that could be given would be this little opera on the same evening that one of the others is presented. At Düsseldorf also "Im Brunnen" is said to have had a very good success.
35* * *
37Eleonora Duse during her Leipsic engagement played "Camille," "Heimat" and "Fedora" at the Carol Theatre. She had been very extensively advertised and played to large and appreciative audiences. The enthusiasm with press and public, however, was not unanimous. It seems that in Germany foreigners are subject to severer criticism in drama than in music.
39The worst acting of the great tragédienne was during certain recalls. She may have been sick, as advertised, but if she was able to disguise this so effectively during the play she certainly could have done it for the few moments the curtain was raised and been polite enough to the audience not to feign such complete exhaustion as to remain seated on a chair until the curtain began to descend. It seemed a cheap way of winning the public sympathy.
41* * *
43A card in THE MUSICAL COURIER's issue of January 3, signed "Several Americans," referring to my criticism upon the playing of Mr. Rudolf Zwintscher at his first concert, charges the same with untruthfulness. The insolence of this card, in view of the facts, is almost unheard of. In the first place the success of the young pianist with the audience, such as it was (mostly conservatorists), was truthfully given; "they applauded to the echo." In the second place this card heralds a miserable lie when the writers endeavor to give the impression that the press comments (which, by the way, have nothing to do with any criticism appearing above my signature) were favorable throughout. A more scathing criticism than that of Bernhard Vogel in the "Neueste Nachrichten," which he closes with a remark that this concert (in view of those still to come) was all he could endure, has seldom appeared in Leipsic.
45In the "Musikalisches Wochenblatt," the editor, regretting because of his friendly relations with the young man's family that he could give no favorable criticism, censured in decided terms most of his playing, emphasizing particularly the same points made in my article. I have read the criticisms of no other papers upon this concert; undoubtedly some favorable ones as well as other unfavorable ones appeared. Because of the great influence of the conservatory some papers are disgustingly lavish in their praise whenever a pupil of that institution appears in public. The standing of the above mentioned paper is sufficiently well known in musical circles.
47In view of the above facts I brand this card as contemptible slander.
49AUGUST GÜSSBACHER.
51At Wissner Hall.—The regular monthly musical of Mr. Chester H. Beebe was given at Wissner Hall, Brooklyn, last Wednesday evening, when he was assisted by Miss Kathryn Krymer, contralto, and Master Everett Titus, Mr. Beebe's piano pupil. Mr. Beebe teaches the Virgil Practice Clavier method exclusively.
53Park Conservatory, Newark.—Miss Neally Stevens gave a piano recital before the pupils of the Park Conservatory of Music, Newark, last Friday evening. A pupils' matinée musical was given in Association Hall the previous Saturday afternoon, when an excellent program was well given by the pupils.
55At Farmington.—Under Director Bern. Boekelman an excellent musical program was given by the young women of Miss Porter and Miss Dow's school, of Farmington, Conn., Tuesday evening of last week.
57The American Musical Protective Union Versus—
58Strange there should such difference be
59'Twixt tweedledum and tweedledee. —DEAN SWIFT.
61I HAVING lived in New York for more than sixty years, fond of music, a tolerable memory, always interested in passing events, allow me to make a statement in justice to the much maligned union to which I consider it an honor to belong.
63Previous to formation of musical unions music was in a very demoralized state, particularly to those who by education were compelled to practice it for their living, and very bad for those who were compelled to hear it.
65Allow me to state facts: A leader would say to the manager: "I will furnish your orchestra with —— pieces (did not say musicians) for —— per week." He would then engage two or three really educated musicians, who would be beaten down to the lowest salary—poverty, not their will, consenting;" one or two violins, a double bass and that infernal cornet ever present in a small orchestra, a big drummer, one stick to beat drum; the other hand to "strike the loud cymbals; plenty of noise. Music? No! as the devil said when shearing the pig, "Not much wool." The leader collecting the stipend; his orchestra made up of his pupils and ambitious amateurs, who were glad to give their services to see the play and to pride themselves as being members of an orchestra. The leader pockets the lion's share of cash and not infrequently keeps it all. This applies to military bands, &c.
67The union prevents all this; every member before being voted for must pass an examination proving himself qualified to become a member.
69Leaders and conductors are amenable to the union; they must pay union rates or be expelled. Musicians likewise must fulfill all engagements or be subject to laws made by themselves.
71The trite saying, "Spiders' webs are made to catch small insects; big bugs break through," fails.
73Prejudice to the union has been manufactured by the daily press. Editors know on which side their bread is buttered. "Ads." from conductors; none from orchestral performers—this explains the matter fully.
75To become a citizen of the United States an alien must live in the United States five years.
77When the union requires "six months" residence to become a member, the cry is, "Outrageous, un-American," &c. Imagine the president of the "Union League" or any other club attempting to force his fellow members to accept a stranger contrary to the club rules.
79The improvement of music in every department within the past fifty years has been phenomenal.
81I attribute this, in a great measure, to the influence of the New York Philharmonic Society and the Musical Union Protective Society. If I have made wrong statements, I am certain the columns of the popular MUSICAL COURIER will lend assistance to find the truth.
83When I was in New York I read in an "advertising dodge program:"
85"The Only Permanent Orchestra in New York."
87Webster defines "Permanent" as remaining, unaltered or unremoved; abiding; durable; lasting; continuing.
89Archbishop Chenevix Trench, in his "Study of Words," says: "Words often, in the lapse of time, lose their original meaning and frequently imply the very opposite to their original intention—the word 'prude' for example." Is the word permanent in a transition state?
91I have always thought the New York Philharmonic Society "permanent," having been in continuous existence for more than fifty-one years—every obligation met during that time. May the Philharmonic Society continue "ad infinitum!"
93SAMUEL JOHNSON.
94February 1, 1894.
95Milton, N. Y.
97THE NEW YORK
98School of Opera & Oratorio,
99106 & 108 East 23d Street.
100EMILIO AGRAMONTE }
101AND— CHARLES B. HAWLEY, }
102DIRECTORS
103A SPECIAL SCHOOL for instruction in all branches of vocal art, which are taught in a scientifically graded and systematized course, from their elementary principles to their supreme expression in Opera and Oratorio. The School will be inaugurated September 25. Candidates for admission can apply from September 1.
104FACULTY:
105Singing, Solfege and Musical Dictation, Chanting, Opera and Oratorio—E. Agramonte, C. B. Hawley, Mme. Theodore Björksten, Miss Marie S. Bissell. Harmony—C. B. Ruttenber. Physical Culture, Elocution, the Art of Acting and Opera on the Stage—Miss Anna Warren Story, Mr. Henry L. Winter. Languages—L. L. Lee. History—Miss Frederick Radermacher. Music—Edmond Lemaire. History of Opera, Ecclesiastical Music and Oratorio and other studies; prominent lecturers.
106The course is stem and the separate branches system, both used. School open all year. Lessons in the evening also. School home for out of town pupils, 458 W. 3d Street, Miss C. A. Cramer in charge. one of two readings
107The course is stem and the separate branches system, both used. School open all year. Lessons in the evening also. School home for a few of town pupils, 458 W. 3d Street, Miss C. A. Cramer in charge. one of two readings
108For terms and prospectus apply to
109LOUIS ALBERTI, Secretary.
111GILMORE'S BAND.
112VICTOR HERBERT,
113CONDUCTOR.
114Concerts, Festivals, &c., &c.
115OFFICE, 18 East Twenty-second Street.
116OTTO WEYL, Manager.
118NEW YORK VOCAL INSTITUTE,
11997 Fifth Avenue, NEW YORK.
120Voice Culture and Singing for Home, Church, Concert, Oratorio, Opera and Teaching. Beginners and the most advanced. Over 200 Class Lessons during season. All students have private lessons. Tuition rates according to teacher. Send for catalogue.
121Mr. Tubbs and his Associate Teachers form the largest and best trained Corps of Vocal Teachers in America. The Students from the Institute are especially sought for as Teachers in Colleges, Seminaries and Schools in all parts of the country. FRANK H. TUBBS, Musical Director.
123PUBLISHED BY
124G. SCHIRMER, New York.
125WILHELM AUGUST AMBROS.
126THE BOUNDARIES OF
127MUSIC AND POETRY.
128A Study in Musical Aesthetics.
129Translated from the German by J. H. CORNELL.
130Cloth, $2.00 net.
131FOR SALE BY ALL MUSIC DEALERS.
132MARCELLA LINHD, one of two readings
133MARCELLA LINDH, one of two readings
134SOPRANO.
135Concert and Opera.
136UNDER MANAGEMENT
137HENRY WOLFSOHN,
138331 E. 14th Street, New York.
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