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Musical Courier 1894-03-14: Vol 28 Iss 731, 1894
32 lines. Read by computer on 19 September 2026. Printed page 11. See the scan on archive.org.
1LONDON, 55 Accacia Road, N. W., February 24, 1894.
3MR. RICHARD BURMEISTER'S symphonic fantasy entitled "The Chase after Fortune" was the novelty chosen by Mr. Manns to inaugurate his spring series of Saturday concerts at the Crystal Palace on the 17th inst. Mr. Burmeister, it will be remembered, is the leading professor at the Peabody Institute, Baltimore, and he produced this work in the United States in 1891. This work was suggested by Henneberg's painting, which portrays a knight urging his horse forward over the prostrate form of his young bride and madly pursuing the fleeting form of fortune toward a frail and narrow bridge, across which he sees the fickle goddess with gold in one hand and a laurel wreath in the other beckoning him on. Death starts in pursuit, and, overtaking the knight, ends the chase, which illustrates allegorically the struggle of modern life. The work is divided into three movements, descriptive of a "Happy Time of Youth," "A Love Scene" and "The Chase after Fortune." He has used thematic material with a free hand, and in the variety of transformations, according to the sentiment expressed, has given evidence of high musical capacity. The first movement, illustrating the impetuosity of youth, is characterized by vigorous writing, the second is charming and extremely poetical, though lacking some of the character displayed in the other two, while the third, describing the chase in a graphic manner, is rich in orchestral coloring and quite the best part of this new number of program music of the better kind. Undoubtedly this work would be improved by a little judicious condensing, as certain parts of the second and third movements are a little monotonous. When this is done I see no reason why this poetically conceived and powerfully written work will not take a permanent place in the répertoires of our orchestral societies. The work was faultlessly played by Mr. Mann's forces, and received that intelligent appreciation from the large audience which is the highest tribute that music can receive. At the end it was greeted with hearty and spontaneous applause. Lady Hallé gave an admirable rendering of Dr. A. C. Mackenzie's "Highland Ballad" for violin and orchestra, and also Beethoven's violin concerto. Miss Evangeline Florence sang most artistically Schubert's "Der Hirt auf dem Felsen" and the waltz "Arietta," from Gounod's "Mireille."
5The second concert performance of the operas "Cavalleria" and "Pagliacci" at Queen's Hall came on the same afternoon, and as before the house was full. Mr. Payne Clarke was successful in his portrayal of the part of "Canio," but he did not make the impression that Mr. Ben Davies did on the former occasion. The other principal artists were the same as before, except that Mr. Appleby replaced Mr. Oswald in the part of "Silvio." Mr. Seppilli conducted, securing good interpretations of both works.
7Another Saturday concert which attracted a large house was the "Pop," when Mr. Chappell's patrons grew enthusiastic over their old favorites, Dr. Joachim and Miss Fanny Davies in Brahms' sonata in A minor. The "king" of violinists did not play a solo, but joined in Dvorák's piano trio in F minor, and led in Mozart's last quartet. Miss Davies played one of Mendelssohn's fugues and Schumann's transcription of a Paganini caprice for an encore. Mr. Santley made his customary success in his own song, "The Old, Old Tune," and Sullivan's "Thou Art Passing Hence," giving "To Anthea" as an encore.
9At the Monday "Pop" several additions were made to the répertoire, consisting of two pieces for the violin with piano accompaniment, composed by Dr. Joachim in his younger days and entitled "Abendglocken" and "Ballade." Both proved interesting and were well received. Miss Eibenschutz' new selection was three movements of Moszkowski's piano suite in G major. The music was bright and pleasing and received a brilliant interpretation at her hands. Schumann's string quartet in A and Brahms' trio in E flat opened and closed the concert respectively. Miss Gwdlys Wood sang charmingly Händel's "If Guiltless Blood," Schubert's "An die Musik" and Rockstro's "Queen and Huntress."
11Mr. Boosey gave another of his popular ballad concerts at Queen's Hall on Wednesday evening, when Miss Alice Esty appeared for the first time this season. She was in good voice and sang charmingly the valse from "Romeo et Guiletta" and Clay's "She Wandered Down the Mountain Side." Mrs. Antoinette Sterling, who always meets with a warm reception, sang "The Three Fishers" (Hulah) in her own inimitable way, and also Behrend's "The Old Nursery," a new song which she makes much of. Mrs. Belle Cole, who has greatly improved in her singing during the past year, gave a splendid rendering of "C'est l'Espagne" (Offenbach), later adding "Twilight Echoes" (Deacon). This much for the American singers on the program. The other artists were Messrs. Lloyd, Maybrick, Robertson, and W. H. Squire with the 'cello. Mrs. Mary Davies also sang selections from Kjerulf and Lehmann, while three numbers from Mr. Eaton Fanning's choir completed the program.
13Mr. Barrington Foote invited his numerous friends to a feast of song at St. James' Hall on Thursday afternoon, and all were highly pleased, judging from the usual signs, for the persistent encores reminded one of the ballad concerts which it resembled very much. This popular singer took a modest part, singing early in the program "I Would I Were a King" (Sullivan), and near the end Gounod's "Nazareth," and Locknane's "Days of Chivalry." Mr. Sims Reeves was unable to appear, but a large number of our most popular artists contributed to the enjoyment of those present, including Mesdames Giulia Valda, Alice Gomez, Antoinette Sterling, Belle Cole, and Miss René, a débutante pupil of Mr. Reeves, who made a favorable impression. Mr. Foli and Mr. Orlando Harley, contributed vocal numbers, while Miss Cecile Elieson was a welcome violinist, and Mr. Sidney Brooks added two selections for the 'cello. Miss Olga Nethersole and Mr. Barrington Foote recited, to the evident delight of all.
15In the evening the sixth concert of Mr. Henschel's London Symphony series took place at the same hall, and to the great satisfaction of the able conductor every seat was taken, which shows that the public have learned to appreciate the fact that Mr. Henschel has now thoroughly established his concerts and gives exceptionally fine renderings of the high-class music in his répertoire. On this occasion the orchestral numbers were: Prelude to the third act of the "Mastersingers," overture to "Tannhäuser" and Schumann's symphony No. 4 in D minor. Miss Eibenschutz was accorded an ovation for her rendering of the concerto in E flat for piano (Beethoven). Miss Marie Brema and the male chorus of Mr. Henschel's choir gave an excellent rendering of the difficult rhapsody for contralto and male chorus of Brahms'.
17The new comic opera, "Wapping Old Stairs," which I mentioned in my letter appearing in THE MUSICAL COURIER of January 31, was given at the Vaudeville Theatre last Saturday night. Mr. Howard Talbot, the composer, although studying with Dr. Parry at the Royal College of Music, must have been, unconsciously perhaps, a close student of the Savoy productions, for the melodies, although original, suggest those of his illustrious countryman; and herein I think Mr. Talbot promises much, for his taking such a high model has brought out his best efforts in this work, which shows both scholarship and charm and indicates a rare gift of melody.
19The libretto on the other hand is hardly sufficient to keep up continuous interest. It is founded on an old legend found in Maitland's "London" of 1775. The hero, "Mark Mainstay," disappears mysteriously on the eve before he was to have been married to "Nancy Joy," the "Pride of Wapping." He was drugged by a rival; "Captain Crook," a dissipated, ugly old vagabond, who also aspires to the hand of "Nancy," and to get rid of "Mark" gave him in some liquor a narcotic preparation called hasheesh, which not only put him to sleep, but tickled his mind with all kinds of dreams about fights, assassinations and all such disagreeable things, until when he awoke and found a knife stained with crimson fluid lying open before him, and it was hinted that he had assassinated his rival, he was quite ready to believe it and left the country immediately. After doing so he had doubts and resolved to disguise himself as an Indian doctor and return, when he soon learned of his innocence, and the happy event came off in due course. Incidental happenings give variety to the plot, the poverty of which is hardly relieved, and Mr. Stuart Robertson has been handicapped in this direction. His lyrics are well penned and remarkably free from vulgarity, but would be improved by more humor and go. This is the maiden effort of these young men, both of whom give undeniable evidence of talent, and let us hope that this experience will point the way to more successful efforts in the future. The performance was a success, each character taking their respective parts well. The cast was made up as follows: "Mark Mainstay," Mr. Courtice Pounds; "Captain Crook," Mr. Henry Bouchier; Mr. Avon Saxon and Mr. Richard Temple, boatswains; Miss Mary Turner, "Nancy Joy," and "Miss Jessie Bond," the humorous servant, "Susan Sinnett." At the close the author and composer were called before the curtain to bow their acknowledgments for an enthusiastic reception of the opera.
21A most interesting and well attended lecture was given at the London Institution on Thursday evening by Mr. Lionel Monckton, M. A., on "Opera: Its Evolution and Present Tendency." He commenced with the Greek drama, which he claims contained the essentials of opera, but the first real beginning was made at Florence at the beginning of the sixteenth century. From this he traced its development in Italy, France, Germany and England, noticing in succession the leading writers of each period and giving examples of their work, illustrated by selections given by Miss Edith Miller, Miss Florence Monteith, Mr. Charles Manners, Mr. Scoville and Mr. J. M. Capel, who also acted as accompanist.
23Mr. Josef Hofmann has arranged a visit to England through Mr. Vert and will give a series of recitals in London during the season, and also in some of the larger provincial cities. Since his temporary breakdown in health he has resided in Berlin, and during his stay there has benefited by the tuition of, first Mr. d'Albert, then Moszkowski, and lately Rubinstein, who declares his pupil to be finished and the greatest among the young pianists of Germany. He is now seventeen years old, tall and slim, and has now become quite an athlete in his way.
25Master Jean Gérardy, the youthful 'cellist, has just become the possessor of a superb Guarnerius 'cello, a celebrated instrument said to be worth 40,000 francs.
27At the Grosvenor Club concert this week Miss Adelaide Banks from New York, who has been studying with Mr. Shakespeare lately, made her début most successfully. She has a very pleasing soprano voice, and sang "La Paloma," responding to the imperative encore with "The Farmer from Over the Way." Mr. Barrington Foote sang Locknane's "In the Days of Chivalry," and a number of other artists contributed to a most enjoyable evening.
29The weekly concert at the Imperial Institute was given by the students of the Royal Academy of Music, under the conductorship of their able and distinguished principal, Dr. A. C. Mackenzie. An orchestra consisting of sixty stringed instruments from the academy played Fuch's serenade in D, Grieg's "Mélodies Elégiaques" and Paganini's "Moto Perpetuo." These numbers were made very enjoyable under Dr. Mackenzie's direction.
31Another enjoyable feature was the singing by a choir of female students of Gernsheim's "Salve Regina," an "Ave Maria" by De Swert, and two of Smart's part songs. Miss Winifred Peake, Miss Alice Simonds, Miss Edith Hands, Mr. N. G. Alston and Mr. Reginald Brophy all contributed solos from such composers as Spohr, Costa, Tosti, Clay, Händel and Lassen to the evident satisfaction of the large audience present. Miss Llewela Davies gave as piano solos, Chopin's prelude in E flat and polonaise in A flat. Mr. Percy Egerton and Mr. Harold Macpherson played an
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