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Musical Courier 1894-12-12: Vol 29 Iss 770, 1894
27 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 9. See the scan on archive.org.
1any defects, but was ready to give the fullest praise to everything he did. His first number consisted of some eight selections of old folk songs and German Lieder, and his second of six old Irish melodies. These were taken from Dr. Stanford's arrangement of the old melodies by Thomas Moore, and Dr. Stanford accompanied. Perhaps Mr. Greene was heard to the best advantage in Schumann's "Waldegeprack," Hollander's "Morgenlied" and "Drink to Her." Mr. Borwick's first number was Schumann's "Humoresque," and the second included Bach's prelude in D minor, Scarlatti's caprice, Chopin's barcarolle and Liszt's polonaise in E. In the barcarolle Mr. Borwick had a tendency to take the tempi too fast, and was not as poetical in his conception of it as in the former pieces. There was the same fault in the selections from Liszt, both of which tended to lessen the high standard of Mr. Borwick's playing, though it must be acknowledged that he has reached a high plane.
3One of the most interesting concerts of the Crystal Palace series was given last Saturday. Perhaps the most attractive number of the program was the novelty "In Praise of Scottish Poesy," by William Wallace, one of the leading writers of the young Scottish school. This work is founded on themes of unmistakable national character, and the principal air is the movement "Hey tutti taiti," that inspired Burn's "Scots wha hae," which is heard continually throughout the piece. It cannot be said that the composition is built on strict lines, but it is nevertheless decidedly interesting. Other orchestral numbers were the air from the twelfth concerto grosso and bouree from the fifth oboe concerto (Händel), Brahms' "Academy" overture in C, and Schumann's symphony in C. M. Sauret played Moszkowski's violin concerto very successfully, and was heard later in the program in his own well-written "Elegie et Rondo." Miss Esther Palliser sang the air from Mascagni's "Marie Magdalene" most successfully, and later on a ballad by Hope Temple.
5At a general meeting of the stewards of the Hereford Musical Festival last Saturday, under the presidency of Mr. J. H. Arkwright, the following report was made: The expenditure amounted to £3,615, and the receipts to £3,010, leaving a deficit on the working of £605, which will be defrayed out of the stewards' guarantee account. The charity account amounted to £956, £821 by collections in the Cathedral, and £135, estimated as the probable receipts of the stewards, taking an average from former years. The usual votes of thanks were passed, and regret was expressed that the Bishop was unable to be present at the festival.
7The first of a series of five chamber concerts intended for children was given at the West Theatre, Albert Hall, Saturday afternoon. This is the result of Miss A. E. Muirhead's efforts to interest children in classical music as a necessary part of their education. The lady introduced each number of the program with a few remarks intended to help the young hearers to listen intelligently to the music performed. The instruction given was simple, and seemed to appeal to all. She dwelt principally upon the quality of voices and the corresponding differences in the tone of stringed instruments, which was easily comprehended by the younger minds. Mrs. L. Miles, M. Prici, Messrs. F. Edwards and M. Munro contributed the vocal selections, which were well chosen. Haydn's quartet in G, op. 77, No. 1, was also played, being led by Mr. John Saunders. The young people present were asked to record the impression made upon them by the music. This plan of Miss Muirhead's to enlighten an audience upon the music about to be performed might be imitated on many occasions to advantage, and considerable development may arise from this modest beginning.
9Mme. Vestella Gordon organized an excellent concert at Queen's Hall last Wednesday evening in aid of the Hospital for Sick Children, in Great Ormond street. The program consisted almost entirely of songs of a popular type, varied by piano and violin solos, by Mr. Gordon Tanner on the latter instrument, and Miss Nina Westall and Mr. W. S. Hoyte on the piano. Several numbers were played by the Ladies' Harp, Mandolin and Guitar Band, under the direction of Signor Sacchi. The concert-giver sang Gounod's "Ave Maria," with violin obligato; "Back to Erin," and "Cam' Ye by Athol?" Other vocalists who contributed were Mesdames Pheroz Langranna, Hope Glenn, MacLachlan, Hilda Wilson, Ruenert and Messrs. Norman Salmond, James Bovet, and others. I fear from the small attendance that the charity will not be benefited much by Mme. Vestella Gordon's worthy efforts.
11At the concert of British Chamber Music last Tuesday evening a fairly good audience gathered to listen attentively to a not particularly good program. The first number, a piano trio by J. C. Ames, contains a scherzo of genuine merit, but the rest is rather tedious, and the last movement trivial. The scherzo, however, will save the piece, as it is so fresh and bright and has plenty of fire. A sonata for viola and piano by Leonard Fowles proved to be a rather wearisome and vague composition, but the viola is a thankless instrument to write for, as it soon becomes monotonous. This I see is the composer's op. 1, and he will do well to remember in future that he needs contrast in his themes to make his work attractive. The trio for three pianos, composed by Samuel Wesley, contains some very fine counterpoint, and is very brilliant, showing in parts the influence of Händel. It was written before the time of Mendelssohn, Chopin and Liszt, and thus forms a pleasing contrast to these compositions of which we hear so much, and was by far the most interesting number on the program. A piano quartet by Luard Selby was somewhat lacking in dash, although it contained some very good melodious work. Among the performers were Mr. Whitehouse, who is always good, Miss Emily Shinner, who has the fault of playing out of tune, and Mr. Ernest Fowles, who as a pianist can be considered only fairly satisfactory. The concert as a whole was not so good as the first of the series.
13The Royal College of Music gave its 193d concert last Wednesday evening, when the students of the college united in a choral and orchestral program, which was creditably performed. The first number was Wagner's "Faust" overture, the playing of which was not quite spirited enough; the young ladies of the orchestra were not imbued with true dramatic fire. The ensemble was quite satisfactory, and the players exhibited good technic. The "John Gilpin" cantata, by S. P. Waddington, is not the least tedious or pedantic, but might have been written fifty years ago as far as style and melody is concerned. At the close the composer was called to the platform and heartily cheered. Following this was Weber's adagio and rondo, "Hongroise," for bassoon and orchestra, an interesting, gay, humorous composition, well played by M. Dubruce, gaining him a recall. The recitative and aria, "From Out the Fold," from Haydn's "Seasons," was sung by Miss Emyln Davies; she has a good style and fine enunciation, but her tones were at times throaty, showing a faulty production. In Schumann's D minor symphony the orchestra did much better work, and an excellent rendering of this popular number closed the program. Dr. Stanford, who is a good time beater, but has not the faculty of inspiring his forces, conducted. This is the first orchestral concert which has been held in the new hall, and the building seems very well adapted to orchestral as well as chamber concerts. one of two readings
14The Royal College of Music gave its 193d concert last Wednesday evening, when the students of the college united in a choral and orchestral program, which was creditably performed. The first number was Wagner's "Faust" overture, the playing of which was not quite spirited enough; the young ladies of the orchestra were not imbued with true dramatic fire. The ensemble was quite satisfactory, and the players exhibited good technic. The "John Gilpin" cantata, by S. P. Waddington, is not the least tedious or pedantic, but might have been written fifty years ago as far as style and melody is concerned. At the close the composer was called to the platform and heartily cheered. Following this was Weber's adagio and rondo, "Hongroise," for bassoon and orchestra, an interesting, gay, humorous composition, well played by M. Dubruce, gaining him a recall. The recitative and aria, "From Out the Fold," from Haydn's "Seasons," was sung by Miss Emily Davies; she has a good style and fine enunciation, but her tones were at times throaty, showing a faulty production. In Schumann's D minor symphony the orchestra did much better work, and an excellent rendering of this popular number closed the program. Dr. Stanford, who is a good time beater, but has not the faculty of inspiring his forces, conducted. This is the first orchestral concert which has been held in the new hall, and the building seems very well adapted to orchestral as well as chamber concerts. one of two readings
16Thursday evening Mr. Henschel gave his first concert with the Scottish Orchestra, which he has brought from Scotland. The musical amateurs who fill Queen's Hall were interested in judging the merits or demerits of this organization which Mr. Henschel has dared to bring into such striking contrast with his own London Symphony Orchestra. We must admit that the comparison was certainly favorable to the band from the north in as far as close ensemble playing is concerned. It is only natural that a body of good musicians, playing under one conductor at some seventy or eighty concerts, besides at daily rehearsals, in a period of five months, should be able to play together better than an orchestra which may be individually superior, but the members of which are liable to have contracted habits of their own, and do not respond so readily as men who are constantly with him. The Scottish band, however, does not possess such good instruments as the London orchestra. The wind instruments, perhaps, are equally as good as the metropolitan ones, but the strings do not touch them for quality and volume of tone.
18The program included Goldmark's overture, "Sappho," which Mr. Henschel deserves thanks for introducing in London, this being the first time it has been played in England. This beautiful, highly interesting overture opens with harps alone, which at once carry us back to "The Isles of Greece, where burning Sappho loved and sung." The themes are well marked and contrasted, and therefore, though long, it is not in the slightest degree tedious. It made the Mendelssohn Scottish Symphony which followed pale in comparison, a fact which the public were not slow to recognize, and the Mendelssohn excerpt, which was once so popular, is not now old enough to be quaint and not new enough to be fresh, and seems to have lost its hold upon the people. The other orchestral number was Wagner's "The Procession of the Gods to Walhalla." M. Achille Rivarde, the rapidly rising violinist, played Saint-Saëns' Third Violin Concerto. He has fine execution and good style, the harmonics being beautifully played. Mr. Whitney Mockridge made his début at these concerts in Wagner's "Werbegesang," from "Die Meistersinger," and sang better than he has done since he came to England. He certainly made an excellent impression upon his critical audience, who at the close called him twice to the platform. He is certain to make a mark here and win a high position.
20One of the best concerts of this season was given by Mr. Gompertz at the Salle Erard last Thursday evening. The most attractive number of the program was Dvorák's Quartet in F major, played for the first time in England. The work, though very bright and original in many respects, is not free from triviality, to which may be allotted the second theme, first movement. The whole quartet being played principally on three notes—C, D and F—makes it rather monotonous, naturally, in some movements, especially in the last, where the first violin work is without variety or contrast. The lento and scherzo were liked best. This quartet is undoubtedly more effective but not so noble as the Tschaikowsky Quartet in D major, op. 11, played at the beginning of the program. The second movement of the latter in B flat major with a middle part in B flat minor, in which the second violin plays a lamenting accompaniment, is certainly most interesting, and relieved the last, which is of a scherzo character. The quartet fragments op. 81 and scherzo in A minor (Mendelssohn) were again made to testify to the popularity of this famous composer. The three works were admirably played by Messrs. Gompertz, Edward, Kreuz and Ould. It is very seldom that one hears in London ensemble playing so good as that led by Mr. Gompertz. Welcome variety to this program of instrumental work was given by Mrs. Katherine Fisk in two songs by Brahms, and later on Leoncavallo's "Schwerer Abschied," and Schubert's "Death and the Maiden." Mrs. Fisk is now a firm favorite, and was heartily recalled after each selection.
22The directors of the Carl Rosa Opera Company have just concluded an arrangement with Madame Minnie Hauk to appear with the company for a series of special performances early in the new year. Madame Hauk will enact various rôles; chief among them will be her celebrated impersonation of "Carmen."
24The Musical Courier of October 17 stated that Grieg had composed a fourth violin sonata dedicated to the Hungarian violinist, Adorjan. In a letter to a friend the great Norwegian composer says:
26"The fourth violin sonata is an invention of the papers. Who is the violinist Adorjan? It is extremely obliging of the papers to let me compose while, unfortunately, I do not do so. My health has been very bad this last summer,
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