Scan 15
Musical Courier 1894-02-14: Vol 28 Iss 727, 1894
109 lines. Read by computer on 20 September 2026. Printed page 16. See the scan on archive.org.
1Vienna Letter.
2Vienna Office The Musical Courier, January 24, 1894.
4"Mirjam," grand opera in three acts, text by Ludwig Ganghofer, music by Richard Heuberger, was produced for the first time at the Imperial Opera Saturday, January 20, with signal success. This opera is as regards an important scenic motive only a remodeling of an earlier work by the same composer, "Manuel Venegas" (text from a Spanish novel of the poet Alarcon, by Widmann), and was produced March 27, 1889, in Leipsic with fair success. The scene of the action of "Manuel Venegas" is laid in Guadix in Andalusia in the year 1830, at which time the custom prevailed of celebrating the advent of spring every year by a grand "May Feast," on which occasion a picture of Christ belonging to a fraternity of monks was carried about through the streets and finally deposited on an altar built for the occasion in one of the principal squares of the town.
6This same altar, however, was used also for quite another purpose.
8Any male inhabitant of Guadix depositing a sum of money on this altar was allowed to dance with any woman belonging to the town he chose, even be it the proudest and fairest donna, provided he was not outbid by a rival.
10To the highest bidder the dance was granted, or he might frustrate the same by his bid without personally wishing to take part in it.
12This old custom, prevailing in Spain in the nineteenth century, is rather boldly transferred in Heuberger's opera into the middle of the fifteenth century and Germany. The "May Feast" comes off in a small town on the Rhine, and instead of the Christ picture a picture of the Madonna is used for the representation of the "May Queen."
14This said relic is carried about and finally landed upon the altar.
16The auction scene is the same as in "Manuel Venegas." A young knight, "Oswald von Brandenburg" (Winkelmann), bids up to 5,000 ducats for the privilege of dancing with the lovely daughter of the rich Jew "Asser Benaja" (Reichenberg), "Mirjam" (Miss Schlager) by name.
18The father, however, bids 10,000 ducats, in order to prevent the dance, and achieves his purpose, at the same time publicly announcing "Mirjam's" approaching wedding with the celebrated and learned doctor "Micha Merari" (Neidl), at the news of which young "Oswald" is greatly agitated.
20"Benaja" bears "Oswald" deadly hatred, the motives of which are only disclosed to the spectator in the last act, where the old Jew reveals his secret to "Merari."
22"Oswald's" father, "Count Guntram of Brandenburg," borrowed a large sum of money from "Benaja," on which occasion he made the acquaintance of the Jew's beautiful wife.
24In a fit of sensuality he had her carried off by some of his servants, and "Rachel," in consequence of this insult, drowned herself in utter despair. Accidentally "Benaja" got the possession of means by which he could revenge himself on "Count Guntram's" son.
26The former had in the meantime repaid "Benaja," and returning to his castle he lost the receipted bill, which "Mirjam," then a small girl, found and brought to her father.
28When "Oswald's" father died "Benaja" once more presented the bond to the young knight for payment, and "Oswald," now a ruined man, plunges into wild debauchery and dissipation.
30One fine day in May, the one previous to the "May Feast," he meets in the woods, where he seeks refreshment after a night spent in drinking, the Jew's daughter and falls in love with her.
32The first act ends amid general excitement and the passionate expression of "Oswald," that "Mirjam" should still be his, come what may.
34Second Act—Marriage feast at "Micha Merari's" country seat.
36The newly married young doctor is called away from his lovely wife by a device of "Oswald's," after having been warned by "Benaja" of the former's intentions regarding "Mirjam."
38"Oswald" now appears himself and in passionate and glowing words beseeches "Mirjam" to fly with him, which she, although confessing her love for him, refuses to do.
40Meanwhile "Merari" returns and finds "Oswald" on the premises.
42"Oswald" is introduced as a young physician traveling to Prague and is invited to join the family at the supper table.
44After they have entered the house "Benaja" appears, like a spectre of vengeance and flourishing a burning torch, extinguishes it by pressing it on the ground, symbolizing his murderous thought of vengeance.
46From the interior of the house a three part song of peace is heard, while the curtain slowly descends.
48The third act leads us into "Merari's" dining room, where we find the doctor and his guest seated at the table and partaking of food and wine. "Merari" now takes his wife and "Oswald" through the gardens and "Benaja" appears upon the scene. After casting a searching glance round the apartment and finding himself unobserved, he takes a vial of deadly poison from the doctor's medicine chest and pours it into "Oswald's" goblet, thinking that he will return and finish his wine. "Oswald" and "Mirjam" return alone and "Benaja" hides behind a curtain. As a last favor "Oswald" begs "Mirjam" to drink out of his cup, which request she grants, and "Merari" enters just in time to see his wife die in her lover's arms, while "Benaja," who has now sprung into the room, too late to prevent his daughter from drinking the deadly draught, becomes a raving maniac. Quick curtain! So much for the dramatic plot of the opera.
50The new work was received with enthusiasm, the composer and soloists being called before the curtain some twenty times during the evening.
52Heuberger had at the last moment undertaken to conduct his opera himself, as Hans Richter was suddenly taken sick, so that, aside from a little nervousness, the composer as conductor added in no small measure to the general success of the novelty.
54Heuberger as a musician and a journalist enjoys great popularity in all circles of the city, and he certainly richly deserved the success with which his work was crowned, for he had labored long and faithfully at his task, and this, his third opera, shows a thorough musical education, an artistic and refined taste and noble ambition in every direction. The trained ear will be quick to discover many musical delicacies, more of a lyric than a dramatic tendency, to be sure, and principally in the orchestral part, less in the vocal score. From this alone it can be readily understood that Heuberger leans with a certain preference toward Wagner, although he also betrays considerable talent for the finer style of the French opera comique, in which direction he ought to be most successful. It apparently does not lie in his power to portray the anguish of the soul or very tragic events in general; all this lies beyond him. He possesses real dramatic feeling without being able to musically create dramatic forms or describe them.
56One great mistake it was to write some passages in both Miss Schlager's and Winkelmann's parts so low that both these artists were at times completely covered by the orchestra and could not make themselves understood except to those who happened to have the text book in front of them.
58The first act was the most successful one, and the beautiful quartet (Schlager, Mark, Winkelmann and Felix) was followed by the most enthusiastic applause of the evening.
60The composer conducted with firmness, which did not betray the excitement following the improvised appearance in the conductor's chair and he certainly ought to be well pleased with the orchestra, which did splendid work and showed the results of some sixteen or more rehearsals, which Richter had directed.
62Miss Schlager, Messrs. Winkelmann, Reichenberg, Neidl and Felix distinguished themselves with artistic representations of their respective parts, and Paula Mark did the best she could with a rather ungrateful part.
64The house was completely sold out, and at the close of the performance the composer was presented with a huge wreath of laurels, richly deserved. Whether the new opera will be able to keep its hold on the repertoire of the Imperial Opera remains to be seen.
66The local press to-day is very enthusiastic throughout in its praise, and Richard Heuberger ought to feel a happy and proud man.
68The third Gesellschafts concert, under Wilhelm Gericke's direction, took place Sunday, January 21. Berlioz' "Damnation of Faust" was the attraction, which work was on this occasion performed for the third time. The first hearing came off 1866, under Herbeck, and the second one in March, 1886, with Hans Richter as conductor. The present performance was a most brilliant one and came, as I am told, fully up to the standard of its predecessors. The principal solos were well sung, "facile princeps" Van Dyck, who gave the part of "Faust" with great power and telling effect, and created a furore in the aria of the fourth part of the dramatic legend. Paula Mark sang "Gretchen" with charming grace and artistic perfection, and was heard to greatest advantage in the "Spinning Wheel Song." In the artificial production of melody, demonstrated in the "King of Thule" aria, Berlioz reveals himself as standing far beneath Gounod, just as he is considerably below Schubert in the "Spinning Song." Johannes Messhaert, a newcomer from Amsterdam, sang "Mephisto." He is a well trained singer, with a beautiful high baritone voice, whose principal accomplishments are an intelligent conception and distinct enunciation. His voice is not very large, neither does he possess sufficient wit to make a deep impression in this part, in which Emil Blauwaert used to rouse his audience to wild enthusiasm.
70Eduard Gartner sang "Brander" artistically and had his share of the general success attending this all round excellent performance. The chorus and orchestra did their work well, the former singing with precision and much energy.
72The "Rakoczy March" at the end of the first part elicited long and continued applause. Wilhelm Gericke has added one more to his long list of successes.
74The first concert of the pupils of the Vienna Conservatory came off last Monday evening, and was the first one under the direction of the newly appointed director, Johann Nepomuk Fuchs. All in all, this performance was a grand success. In first place the pupils orchestra played Mozart's seldom heard symphony in C major with good effect and particularly distinguished itself in Beethoven's "Leonore" overture, which, considering the youthfulness and comparative inexperience of the performers, was rendered with astonishing brilliancy and precision. The solo performers also were successful, especially the pianists, of whom Miss Aglitzky, a pupil of Professor Proonitz, played the Beethoven G major concerto with brilliancy of execution, and Moriz Violin, one of Professor Epstein's most talented pupils, rendered Brahms' D minor concerto with a surprising understanding of the difficulties in this magnificent work.
76A new suite (No. 2) for violin and piano by Carl Goldmark was heard for the first time at the last soiree given by the Quartet Rose on Tuesday, January 16. Mr. Ignaz Brill played the piano part.
78I would not like to class this new suite among the best of Goldmark's creations, inasmuch as, with the exception of the third movement—a pretty allegretto in the style of good ballet music—there is very little freshness and originality of melody apparent, and the work as a whole shows more conventional phrasing than inspiration and invention of new thoughts. This suite has four movements, and on this account, it seems to me, the composition hardly deserves to be honored with the historical name of a suite.
80It might just as well be called a sonata, since the strict old form of a sonata has long since vanished.
82Arnold, Rose and Brill distinguished themselves with great success, and Goldmark was several times called to the platform.
84Bianca Panteo, a young lady violinist, gave a recital on Monday last, but showed very little evidence of improvement since I heard her last season, the only one noticed
86Mr. WATKIN MILLS,
87Principal Baritone of the great English Musical Festivals—Leeds, Birmingham, Worcester, Gloucester, Hereford, Bristol, Hanley, &c.—the Richter Concerts, the Royal Albert Hall Choral Society and other important Concerts, will be available for Oratorio and Miscellaneous engagements during the ensuing season.
88All communications to be addressed to
89Mr. F. VERT,
908 East 14th Street,
91New York City.
92Representative also for the following artists who will visit America during the seasons '93 and '94: Madame Albani, Mlle. Antoinette Trebelli, Miss Medora Henson, Madame Antoinette Sterling, Mr. Edward Lloyd, Mr. Ben Davies, Signor Foli, Mr. Norman Salmond, Mons. Joseph Hollman (violincellist), Mr. George Grossmith, &c., &c.
94HENRY WOLFSOHN'S
95MUSICAL BUREAU,
96331 East 14th Street, New York.
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100Authorized to receive propositions for Concerts for the Artists of Abbey, Schoefel & Grau's Grand Italian Opera Company.
102"I unhesitatingly pronounce this system superior to any I have taught in twenty-five years."—FRED. H. BUTTERFIELD, Supervisor of Music, New Bedford, Mass.
103Boston Classes, Saturdays, 180 Tremont St.—F. H. Butterfield.
104Steno-Phonetic System for Vocal Sight Reading,
105Which does not interfere with the ordinary notation.
106(Copyrighted by May Florence Smith.)
107For reading music. Three months (course absolute.) Address, Vocal Reading School, 132 East 23d Street, Room 12, New York.
108MISS MAY FLORENCE SMITH.
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