Scan 18
Musical Courier 1894-11-21: Vol 29 Iss 767, 1894
73 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 19. See the scan on archive.org.
1THE MUSICAL COURIER.
3LEIPZIG LETTER.
5LEIPZIG, October 25, 1894.
7THE first Gewandhaus concert was the signal for the beginning of a veritable musical deluge. An abundance has already been offered, but so far the gourmand has fared better than the epicure. At the first three Gewandhaus concerts the following orchestra numbers were played: Symphonies, Beethoven, No. 2, D major; Brahms' No. 4, E minor; Schumann, No. 3, E flat major. Overtures, "Meerstille und glückliche Fahrt," Mendelssohn; "Im Frühling," Goldmark; Vorspiel to "Lohengrin," Wagner; also concerto for string orchestra with two obligato violins and an obligato 'cello, Händel; ballet music from "Prometheus," Beethoven, and "Te deum laudamus," for string orchestra and organ, Sgambati.
9There is little new to write of the Gewandhaus concerts. With very rare exceptions the same works are given each year in about the same manner. The manner in many cases leaves much to be desired. The Gewandhaus concerts are the clearest illustration that no orchestra, however excellent can give finished performances without rehearsal—for the one public rehearsal the day preceding that of the concert should not be termed a rehearsal, it is merely a playing over of the numbers. Only in exceptional cases is a real rehearsal arranged for.
11The soloists at these concerts were Mrs. Wilhelmj, from Wiesbaden; Miss Jakimowski, piano (playing the Schumann concerto, berceuse by Chopin and nocturne and caprice by Rubinstein), and Ysaye.
13Ysaye, playing the Saint-Saëns concerto No. 3, B minor, and Buck's Scotch phantasie, was the most interesting soloist so far. He is undoubtedly an illustrious representative of the Belgian school. He possesses all its desirable characteristics, notably grace and clearness. He has a smooth, sympathetic but small tone, and a sure, even technic. Although rather an emotional player, he is still objective. His playing lacks breadth, and he does not seem capable of great climaxes. He describes graceful circles but never soars to great heights. It were to be desired that his resemblance to Wilhelmj extended beyond personal appearance to the volume of his tone. However, for accomplished violin playing Ysaye is fully entitled to the high position he holds among contemporaneous artists.
15The first Liszt Verein concert was conducted by Emil Steinbach, from Mainz, and the soloists were Lilian Sanderson, of Berlin, and Frederic Lamond, of Frankfurt. One of the largest audiences that has been assembled in the Albert Hall listened to the following program:
17Prologue by Herman Pilz, declaimed by Mr. Geldner.
18Festklänge, symphonic poem for orchestra…………………Liszt
19Songs with piano accompaniment—
20"Blondels Lied"……………………………………………..Schumann
21"Neue Liebe"…………………………………………………Mendelssohn
22"Eine Melodie"……………………………………………..Chopin
23"An den Linden"……………………………………………Jensen
24Concerto for piano and orchestra, B minor, op. 23.
25Allegro ma non troppo e molto maestoso…………………Tschaikowsky
26Andantino semplice………………………………………Tschaikowsky
27Allegro con fuoco…………………………………………..Tschaikowsky one of two readings
28Allegro con fuoco…………………………………………Tschaikowsky one of two readings
29"Die Erscheinung der Venus," symphonic poem for orchestra……………………………………………..Emil Steinbach
30Solo pieces for piano—
31"Dream of Love"…………………………………………….Liszt one of two readings
32"Dream of Love"……………………………………………..Liszt one of two readings
33Military March……………………………………………..Schubert-Tausig
34Songs with piano accompaniment—
35"Nonnenwert"……………………………………………….Liszt
36"Sommernachmittag"………………………………………Liszt
37"Die Scheuerfrau am Christabend"………………………..Bungert
38"Küssen ist süße"……………………………………………Bungert
39"Les Préludes," symphonic poem for orchestra…………….Liszt
41Steinbach as a composer is worthy of much greater consideration than as a conductor. In the latter capacity he is a true type of routine capellmeistership. The ideas of others evidently do not kindle much fire in him. But when it comes to his own ideas Mr. Steinbach is incomparably more interesting. His symphonic poem is a work that may be classed among the first efforts of modern symphonic productions. Steinbach paints with a skilled hand; his colors are well blended and show beautiful contrasts. His thoughts are original and graphic. His form of expression is pronouncedly modern, but what he expresses is his own. The symphonic poem merits general attention.
43Lilian Sanderson was in good voice and sang very well, creating a very favorable impression. Her success with the audience would undoubtedly have been still greater if in the selection of pieces she had not confined herself so closely to sombre compositions. Mrs. Sanderson certainly has an exceptionally artistic temperament.
45The surprise of the evening, however, was the playing of Frederic Lamond. He came a stranger, played a composition new to Leipsic and had a success that may be termed nothing less than phenomenal. He appeared to the best advantage in the concerto, and his technic as displayed in that may be said to equal that of Rosenthal. Lamond has marvelously skilled fingers and a wonderful wrist, playing with dash and brilliancy wherever required; his runs are clear and his tone round and sympathetic. His conception of the concerto was very interesting. He is decidedly a subjective player and one of the best heard here for a long time.
47By introducing Steinbach's symphonic poem and Lamond as a pianist, the Liszt Verein again gave judicious encouragement to worth which merits general appreciation. In that respect the Liszt Verein is a great factor.
49Mendelssohn's "Elijah" was given by the Riedel Verein. Raoul Koczalski again gave a composer-conductor-virtuoso burlesque. There have been a number of soloist concerts of not sufficient importance to deserve especial mention. About a dozen concerts by societies of lesser importance had an attraction only for the immediate friends of those interested. Ben Davies' concert company, Anton Sistermans and others appear within the next few days.
51Humperdinck's charming "Hänsel und Gretel" was the first novelty in opera this season, and has had a really remarkable success. So long as we can call composers contemporaneous who produce works like "Hänsel und Gretel" there need be no fear of lacking worthy representation with posterity.
53Humperdinck employs the modern form of expression, but what he expresses is delightfully original and genial. The orchestral coloring denotes a master of the very first rank, the voice receives throughout such judicious and intelligent treatment as is seldom found with modern opera composers, music and situations are always concordant, and melody, harmony and rhythm sparkle in varying conceits.
55"Hänsel und Gretel" is a delightful inspiration. As an opera text the fairy tale will undoubtedly weather more storms than many innovations and realistic sensations. The rich fancy of many of the German fairy tales must continue to charm as long as poetic temperament prevails, wherever it be. The parts were well taken. Miss Osborne and Miss Kernic as "Hänsel" and "Gretel" were at their best. Miss Kernic's "Gretel" is one of the most delightful characterizations imaginable. She is the "Gretel" of the fairy tale from beginning to end. The charming little artist, who is immensely popular, is remarkably versatile. Miss Beuer took the part of "Mother Gertrude" very well; and Mrs. Kryzanowski-Doxat as the ogress created a sensation. It required much persuasion to make oneself believe that the witch riding on the broomstick was our great "Isolde." Mr. Schelper as "Father Peter" sings and acts with his usual excellence. "Hänsel und Gretel" is still the craze, and your correspondent is as much infected as anyone.
57"Tobias Schwalbe," a "one actor" by Johannes Pache, was as great a fizzle as "Hänsel und Gretel" was a success. The so-called opera (at best an operetta) is an attempt too ridiculous to discuss, and what could have possessed the management to accept it for presentation is an enigma.
59"The Piper of Hardt," by Ferdinand Langer, came next and possesses very little more intrinsic merit than "To-bias." This opera, however, required much work in preparation, especially on the part of the soloists. The "Piper of Hardt" is a pretentious five-act opera, the libretto being after the well known Lichtenstein Saga. "Langer" is another edition à la Nessler, lacking, however, Nessler's good points. He gives the singers very difficult problems to solve without obtaining any effect. Apparently he is of the opinion that all intervals, in whatever succession they may be written, are as easily produced by the voice as on an instrument. His orchestration is very ordinary and labored. This opera will, after two or three more performances, be buried in the very large Potter's Field that Leipsic has to supply for such impositions. It is a shame that the artists, chorus and orchestra should be harassed with some thirty rehearsals in preparation of works of positively no merit. This is done too much here, the only apparent benefit being perhaps some additional scenery, which the composer pays for, or some other compensation to the management for presentation. The artists thus worried and wearied are not able to do justice to other works, and this is undoubtedly one of the principal reasons why there are so many ill-attended performances of standard operas. The people want to hear opera well produced.
61Nordica came to Leipsic, was heard by crowded houses, and conquered, as she has everywhere else. In Leipsic it had to be a regular conquest, for in this city of intrigues it is not easy for a foreign singer to obtain recognition, especially in opera.
63Originally Nordica was engaged to sing only "Elsa" in "Lohengrin." There seems, however, to have been a large proportion of the opera habitués who were anxious that a comparison be made between Mrs. Baumann, who has recently been re-engaged, with a coloratura singer of assured standing. A recent criticism upon her in the answer to La Mara's letter, which was translated and published in several of the local papers, has evidently voiced the sentiments of many. Mrs. Baumann having been represented as "the best 'Violetta,' of the present day," it was correctly held that a comparison would establish the fallacy of that assertion. Manager Staegemann was therefore besieged with petitions, letters, newspaper insertions and requests in every form, even before Nordica sang "Elsa," to arrange for another Gastspiel in "Traviata."
65The pressure brought to bear was so strong that the desired additional engagement was effected. Those familiar with Leipsic conditions will fully realize the remarkable success Nordica achieved when it is said that even the staid Gewandhaus direction has engaged her for the next concert. It was clearly a battle here between art and prejudice, in which the public demonstrated it allegiance to art. one of two readings
66The pressure brought to bear was so strong that the desired additional engagement was effected. Those familiar with Leipsic conditions will fully realize the remarkable success Nordica achieved when it is said that even the staid Gewandhaus direction has engaged her for the next concert. It was clearly a battle here between art and prejudice, in which the public demonstrated its allegiance to art. one of two readings
68Nordica was the recipient of laurel wreaths at both performances; at the second, two magnificent wreaths, presented to her by the resident Americans, were draped with red, white and blue. When called and recalled amid deafening applause and cheers she adroitly detached a little flag from one of the wreaths and waved it to the audience. The Stars and Stripes seem to signify victory wherever they wave.
70Nordica's "Elsa" has been discussed so much that a dissertation at this time might seem tedious. Here it was a new "Elsa," and one that was fully appreciated. Nordica is a great artist, has learned a great deal and is a crowning illustration of the marvels that can be achieved in art under disadvantages. Yet it is to be regretted that the American representative at Bayreuth, and later in the principal German cities, was not at the same time a more fitting representative of the natural beauties of the American voice, which in the present day seems to be considered the best material.
72In "Traviata," Nordica was in her element. In Germany at the present time coloratur is as highly appreciated as ever. Italian opera is far from being dead. The best attended operas are Italian, whenever acceptably given. Nordica's "Traviata" was a revelation, not only in singing but also in acting. Her acting of a rôle that within the past few months had so repeatedly been awkwardly essayed elicited as much commendation as her magnificent singing, and the repeated cries of "Auf Wiedersehen," "Kommen Sie bald
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