Scan 20
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 21. See the scan on archive.org.
1the key, but coldly. However, he is a perpetual delight to the eye, and "Senta's" sacrifice could be readily understood. Frau Ehrenstein has for some time been making great improvement, and her "Senta" was excellent. In fact her large, sympathetic tones quite drowned those of the baritone. "Erik" was sung by Schrödter, whose voice is universally admired, many considering him the first tenor of the Viennese stage. I suppose one can't expect everything, but he does act unusually bad. Someone remarked that Grengg has a typical German voice, and it certainly is refreshing—so ringing and substantial. Schittenhelm is a man of whom the opera should dispose. I really can't suggest one reason why he should be inflicted upon the public; he is uninteresting, his voice is small and he flats. The chorus and orchestra were, as usual, perfect.
3During the reception given by his brother two week ago, Eduard Strauss, in his funny French fashion, introduced me, as he put it, to "Vienna's loveliest angel." He meant, of course, Marie Renard, the beautiful woman who has so entirely infatuated this city with her lovely voice and clever acting. Accepting her invitation to visit her, I called on the singer one afternoon this week in her artistic town apartments. And how fascinating she is! I have always been interested in her work; she is so intensely musical and poetic and conscientious, her acting ever spontaneous, her voice so beautiful in quality, her interpretations so thoroughly refined that I felt there must be a strong and charming personality sustaining her in her public life. Beauty appeals strongly to me, but I guess one less susceptible would yield to the charms of her low, clear voice, her pretty manners and her lovely face and figure. Pale, well cut features, dark hair and eyes and an exquisitely expressive mouth sound attractive, you must admit. "Manon," "Mignon" and "Lotta" in "Werther" are Renard's greatest rôles, and I have often wondered that she has accepted no American engagement. In speaking of this Renard admitted that her thoughts, as those of all great artists, occasionally reverted to that country. She admires immensely the culture and discrimination of American audiences, and their terrific enthusiasm when really pleased, but, as she quaintly put it, "one enjoys life after all," and her fear of the ocean voyage is almost unconquerable. Still I fancy that in two or three years Renard will be delighting the hearts of New Yorkers, even as now she is first in the affections of this musical city.
5If I remember rightly I made mention in a previous letter of Ferdinand Hummel's one act opera "Mara." At that time I had not heard it, and could only briefly quote Hanslick's criticism, which credits the composer with neither originality nor wealth of ideas. There is not a moment in "Mara" in which the warm interest of the audience is not sustained, and the music is full of animation and beauty and wonderfully well orchestrated. Hummel has great talent for form and melody, and his first work has many admirers. The story is blood curdling, horrible, and no effect of situation was lost on Winkelmann and Schlager. It is a case of party strife during which "Eddni" unfortunately causes the death of his father-in-law. Doomed to be dashed from a cliff onto the rocks below as punishment for his crime, "Mara," his wife, rescues him from so horrible a fate by sending a bullet through his heart. There are two scenes with their little child, whose unconscious gaiety in the presence of the terrible pain of his parents is horrible. The effect was soul harrowing to me. Schlager and Winkelmann deserve great credit, although if the former could realize what suspense she causes her audience when she faints she would kindly tumble into a chair or onto a bench. Strangers must find it very trying. I remember the first time I saw her in unconsciousness I was in agony wondering how she was going to regain her equilibrium. But I am, as you see, most uncharitable, considering, too, that Schlager's proportions are her misfortunes, not her fault.
7LILLIAN APEL.
9THE SEIDL ORCHESTRA.
10ANTON SEIDL, Conductor.
11SEASON 1894-95.
13THIS grand organization will be reorganized and placed on a permanent basis for the coming season. Concerts will be given in and around this city and short tours made to the different sections of the country, embracing all the principal cities of the United States and Canada.
15Many orchestral novelties will be produced, the finest solo talent will be secured, and negotiations are now pending for several of the best known European artists.
17Fuller details and information will be given in these columns later on.
19Address, for information as to the tours, dates, terms, &c.,
21H. G. SNOW,
22Abbey Building, Room 416,
23Corner Broadway and 38th Street, New York.
25Berlin Notes.
26BERLIN, October 29, 1894.
28THE number of young singers making their Berlin début this season is astonishing. The poor quality of the singing of most of them is also surprising, due for the most part to their appearing in public too soon before their talents were sufficiently developed. The best of a number of young sopranos whom I heard last week was Josefine Gruson, who appeared in a concert of her own at Bechstein Hall on the 21st. She has a voice of sympathetic quality, fairly well developed and trained. She sang the aria "Parto, parto," from Mozart's opera, "Titus," and songs by Schubert, Schumann, Lefebvre, Vidal, Massenet, Bemberg, Rubinstein, Ries and Dvorák. She sang without notes, and in Bemberg's waltz song, "Nymphes et Sylvains," forgot her part, and was obliged, under great embarrassment, to turn to the piano score to get in again. The public did not mind this slip at all, however. She sang well, but did not enter into her work with much enthusiasm, consequently her audience was not enthusiastic. Enthusiasm is a most potent factor on the concert stage, as elsewhere. If a singer is not enthusiastic herself she cannot expect to enthuse her audience. The great trouble with all of these newcomers, I find, is the lack of individual character in their work. A fine voice, excellent school and technic do not satisfy alone. These qualities must be combined with something that the individual has to give, if true success is to be gained.
30Miss Gruson was assisted by Felix Berber, violinist, and Hermann Tietz, pianist.
32Berber is a born violinist. He has a great talent for this, the most fascinating of instruments. His first tones, in the "Lento doloroso" of Grieg's G major violin and piano sonata, bespoke the violinist "to the manner born," and I expected a great treat, for I am never so happy as when listening to a great violinist. Before the first movement of the sonata was finished, however, I realized that my high expectations were not to be realized. The artist's talent was ever strongly evident in his playing, which made the lack of finish and the careless habits he has acquired all the more painful. He played, besides the Grieg sonata, Wilhelm's arrangement of the "Preislied," from the "Meistersinger," and Saint-Saëns' "Rondo Capriccio," which latter composition is the only one of the three calculated to show off a violinist's capabilities. His passage work in this, which needs to be played with such delicacy, was positively bad. His spiccato bowing was stiff and bungling and robbed the passages requiring it of half their charm. In his rapid scales he invariably left out a number of notes; open strings and harmonies were used wherever possible—not artistic even in a work of this character—and lastly, he is addicted to an excessive use of the vibrato, which made his high notes extremely disagreeable. Berber made on me much the same impression that Gregorwitsch did when I heard him last season—the impression of a very talented violinist, who has been spoiled by success, who is not holding his ground because he does not practice enough. That Berber has learned a great deal is evident as is his talent, but he has not kept up. What a pity it is! And there are many artists of this stamp.
34* * *
36The Ben Davies Concert Company began their grand concert tournée through Germany at the Philharmonie October 22. The great tenor chose for his first appearance this season a most unfavorable night. Monday evening should be avoided by outside artists above all evenings; some of the most important concerts here are always given Mondays. Hardly one-quarter of the seats were occupied at this concert, which must have been a matter of great surprise to Ben Davies, in view of the eminently favorable notices that he received here last year at the hands of all the critics. The small house was due largely to the Symphony concert of the Royal Orchestra, which took place at the Opera House at the same time. These concerts of the Royal Orchestra, under Weingartner, draw here as no others can. In fact, whatever may be on at the Opera a full house is assured seven nights in the week. Those who heard Ben Davies on this occasion had no reason to regret having missed any other concerts. The great singer won the hearts of all from the very first with a recitative and aria from "Judas Maccabeus," by Handel. He sang further "Monduacht" and "Widmung," by Schumann; two old English songs—"Drink to me only," by Ben Jonson, and "Sigh no more, ladies," by Stevens—and "Cielo e Mar," from "La Gioconda," by Ponchielli. The audience grew more enthusiastic with each number, and demanded several encores. Well they might be enthusiastic, for such tenor singing is seldom heard in Berlin.
38Ben Davies' second concert is advertised for Monday night again, unfortunately, for he will have to compete with the double attraction of the second Strauss Philharmonic concert, with Fanny Bloomfield-Zeisler as soloist, and an extra performance of "Lohengrin" at the Opera, with Nordica as "Elsa." The appearance of these two illustrious countrywomen of ours on the same evening is, by the way, a matter of much surprise and disappointment. It is reported that Ben Davies is to sing "Faust" at the Royal Opera in January; then, at least, he will appear before an audience worthy of him.
40Davies was assisted October 22 by Tivadar Nachéz, violinist, and Algeron Ashton, pianist. Nachéz played Tartini's "Trille du Diable;" the Bruch G minor concerto; a "Benedictus," by Dr. Mackenzie; Schumann's "Trämerei;" Bazzini's "Scherzo Fantastique," a Swedish rhapsody of his own composition, and three Paganini numbers, viz., the Caprice in thirds and sixths, the one in octaves, and the extremely difficult "Theme and Variations" for the G string alone. Truly, no one could complain that Nachéz was not down for his share of the program. He, too, like Berber, is one of those violinists who are born, not made; but unlike Berber, he is not in indifferent practice, and comes much nearer to being the ideal, the really great violinist, who must of necessity be both born and made.
42Nachéz's first number, the Tartini sonata, was not wholly satisfactory; works of this character are not adapted to his style. In the Bruch concerto he was much more effective; he took one or two liberties with the tempo in the first movement hardly in keeping with the character of the composition, but his interpretation of it as a whole was above criticism. The adagio especially was beautifully played. The short Mackenzie and Schumann numbers were also faultlessly played, with excellent tone and genuine feeling. The Bazzini "Fairy Dance," as it is also called, so popular with violinists of the French and Italian schools, was played with great virtuosity, but not without a few technical slips. It was very effective and was encored. Nachéz's own "Swedish Rhapsody" has good as well as cheap qualities. In the Paganini pieces he was disappointing. The study in thirds was badly out of tune—in fact I could not understand how an artist of his great reputation and ability could play so off the key; his tendency was to play sharp.
44The octave study went much better. For the one string solo he had a violin for this special purpose, with but one string on it. This breakneck invention of violin acrobatic feats was performed with marvelous execution and ease; in this respect Nachéz played it in a manner worthy of old Nicolo himself, but—the absolute purity of intonation was lacking. This is the great bugbear with violinists—this difference between relative and absolute purity of intonation.
46This last step is the very hardest one of all the many difficulties the left hand has to to overcome. It is possible to play positively in tune on the violin, but the fact is, and
48Mary Louise Clary,
49Contralto
50for
51Concert and Oratorio.
53Miss Clary during the Holidays will make two extended
54WESTERN TOURS,
55Singing among other engagements in "The Messiah," in Chicago, St. Paul, Minneapolis, Oberlin, Pittsburgh, and returning East only long enough to sing in Boston with the Handel and Hayden Society, December 23, and in New York, December 25.
57For special Western dates and terms between the first weeks of December and January
59ADDRESS DIRECT
60Remington Squire, MARY LOUISE CLARY,
61Manager. 113 West 96th St., New York.
63Tour of United States and Canada.
641894-95.
65(no line here) one of two readings
67BY THE
68Distinguished
69Concert
70Organist,
71WM. C. CARL.
72Permanent Address, 6 West 21st Street, New York.
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