Scan 31
Musical Courier 1894-12-12: Vol 29 Iss 770, 1894
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1gram, the same being the C minor variations of Beethoven and Schuett's "Fledermaus" paraphrase.
3As to the other numbers, she exemplified what I have maintained in regard to some other performers—that it is always pleasanter and more profitable to hear an artist sing or play with a maximum of mind and a minimum of muscle and speed than to hear a performance that is all muscle and speed and no mind. She treated some short Schubert pieces, some Mendelssohn Songs without Words, two Schumann bits, representative things by Brahms, Chopin, Rubinstein, Mrs. Beach, Mr. Paur and Liszt with understanding, delicacy and refinement. There was absolutely no sensation in her work. It was quiet, honest and delightful, and the auditorial encouragement seemed to be sufficient to warrant a second recital.
5Monday night the Siedl concert occurred, and the opera comes to town in a large, red wagon on Thursday.
7Foreign Notes.
9Rome.—At the Costanzi in Rome the repeated performances of "Falstaff" have confirmed the success the opera obtained at a first hearing.
11Magdeburg.—Sigrid Arnoldson recently made her first appearance in Magdeburg as "Traviata." The entire house was sold and the enthusiasm was great.
13A New Opera.—At Lille, in France, a new opera will shortly be introduced entitled, "Lyderic," composed by Ratez, who is the director of the local conservatory of music.
15Munich.—Franceschina Prevosti, the Italian prima donna, recently sang "Violetta" in "Traviata" and "Rosine" in "Barbiere." Her brilliant vocal and dramatic talent earned for her the favor of her audiences.
17Australia.—Sir W. Robinson, the Governor of West Australia, has joined the musical fraternity. A performance took place recently at the Princess Theatre of an opera of which he is the composer, and the work received much applause.
19Vienna.—At the Hofoper Theatre, Vienna, last week was given for the first time the three act opera "Cornelius Schütt," by Smareglia, words by Illica. The principal rôles were in the hands of Van Dyck, Gregg, Lola Beeth and Marie Lederer.
21Hamburg.—The Singakademie at Hamburg celebrated November 24 the seventy-fifth year of its existence. "Die Macht der Töne," by Händel, and "Eine feste Burg," by Bach, were on the program. The soprano part was sung by Frau Herzog, of the Royal Opera House.
23Arthur Sullivan Hurt.—Sir Arthur Sullivan slipped recently on the stage of the Savoy Theatre while superintending a rehearsal of his new opera, and sprained one of his ankles. The accident may prevent him from going to Berlin to witness the production of his opera "Ivanhoe."
25Ebenezer Prout.—Ebenezer Prout, B. A., who has been appointed to the chair of music of the University of Dublin, is in his sixtieth year. He was graduated at the University of London in 1854, and is the author of works on the "Theory of Music," "Instrumentation," "Counterpoint," "Musical Form," and "Harmony." He succeeds Sir A. P. Stewart.
27Musical Academy of Munich.—In the first subscription concert of the Musical Academy of Munich under R. Strauss the overture to "King Lear" by Berlioz was played; also the prelude to the second act of Max Schilling's opera "Ingwelde" and the seventh symphony of Beethoven. The new concert master, Miroslav Weber, gave great satisfaction as a violin player in Mozart's D major violin concerto; also in a concerto by Paganini.
29Milan.—The program for the winter season at the "Scala" in Milan contains the following operas: "Ratcliff" and "Silvana," by Mascagni; "Sigurd," by Reyer; "Samson and Delilah," by Saint-Saëns; "Patria," by Paladilhe; "Carmen" and "The Pearl Fishers," by Bizet; "Fortunio," by Van Westerhout, and "Medici," by Leoncavallo. Three ballets: "Le Nozze Alava," by Graeb, music by Hertel; "Silvia," by Saint-Léon, music by Delibes, and "La Maledetta," by Gaillard and Hauser, music by Vidal. The artists as announced include the prima donnas Stehle, Adini and Vidal, and Messrs. Kaschmann and Di Lucia.
31Mrs. Clara Poole in England.—The "Green Park Club," before which Mrs. Clara Poole has already had the honor of appearing twice, is by the way the swellest ladies' club in either hemisphere, and among its members may be found some of the most influential women in England. It is almost as difficult to become one of its associates as to be presented at one of Her Majesty's drawing rooms, a so much greater honor for the representation of our American contraltos. It is certainly astonishing, though not unexpected, considering the high artistic ability of Mrs. Clara Poole, to note the rapid strides made by her since her arrival in England. She has been requested to prepare herself to sing in "King Saul" by Parry, and the "Golden Legend" by Sullivan, &c., a true recognition of her worth.
33A Chat with Stavenhagen.
35BERNHARD STAVENHAGEN had courteously intimated that he would be interviewed. In response to the invitation THE MUSICAL COURIER representative approached his apartments, the door of which had been left open by the messenger. After sending back word to "come up" Mr. Stavenhagen had immediately returned to his piano, and no sooner there than he became oblivious to every other surrounding element—in fact, wrapped up, lost in his work. The attention of the visitor was arrested by the repeated rise and modulation of tones as the keys readily answered to the musician's touch. His efforts were accented, true, earnest.
37He was running through a composition of his own as a matter of practice. But there was none of the suggestion of a prosaic, dry task about it—at least it did not so manifest itself in the results—for as the notes came and died away, sweet and blissful in tone, volume and color, the effect was that of the music of tumbling waters in an echoing cavern. Mr. Stavenhagen became more deeply submerged in his practice. It was therefore no wonder that he failed to discover the visitor in the doorway. No effort was made to break in upon the reverie of the pupil of Liszt. The charm was there. Once finished, the player awoke—arose hurriedly and half apologetically.
39He is a tall, compactly built, blond, blue-eyed German of two-and-thirty, having been born November 24, 1862, at Greiz, Germany; but one would never mistake him for a son of the Fatherland—that is, in appearance. He has the general bearing of an Englishman, but wears his heart upon his sleeve. To see him is to like him.
41"I beg your pardon, sir, but I was dreaming!" he exclaimed, extending a warm hand with a generous, honest grasp. "But how can I best serve you?" he insisted.
43"By telling the Americans all about yourself," was suggested.
45"Well, to begin with, music is about the first thing that I can remember having fallen in love with. Yes, let us go back to my childhood. Lessons in the art were given to me at an age when the average youngster is in his primer. My father insisted upon it. I suppose that he saw a future for me. At any rate, I was but eleven years of age when he gave me to understand that I must devote my life to the profession of music. So he took me to Berlin, where I became a pupil of Theodore Kullak, and within one year's time I was advanced to the Royal High School. True, I appreciated it all. My father had now taken up his residence in Berlin.
47"Even at that youthful age I was enthusiastic. I was ambitious. I studied hard. The result was, that at the age of sixteen I became a pupil of Professor Rudorff, and in the meantime received instructions in composition and the theory of music under Frederick Kiel. I was rewarded for all of my labor when, two years later, the Mendelssohn prize was granted me as a mark of appreciation for musical proficiency. That was in 1880. But the guerdon that I had won only served to fire me with greater energy, and in the winter of 1882 I made my début in Berlin in concert. But I still longed for more instruction. I am egotistical enough (modestly egotistical, if I may be permitted to use such an expression) to assert that the public and critics assigned me a coveted place among the young pianists of that day. But at the same time I must assert that I had faith in myself. Every artist must have that if he would succeed.
49"It was, therefore, with no small amount of energy that I resolved to become the pupil of Liszt in 1885. I went to Weimar, and thereupon was received with a spirit that enabled me to believe that the master placed confidence in my abilities, and a close, rich friendship was the result. It was with Liszt that I went to Buda-Pesth, Rome and London, appearing in the latter city at the Crystal Palace and St. James' Hall. His death ensued not a great while after this tour closed."
51"And then?"
53"Then I felt that it was more than ever my duty to carry out my obligations and make myself worthy of the estimate that the great musician had placed upon my abilities. From that time until the present my work has been more diligently prosecuted than ever, and I have enjoyed the patronage of the public in Germany, Russia, England and other lands. I have played with twenty different orchestral organizations in the various cities of Germany."
55"And how many recitals are you assigned to in America?"
57"Either forty or sixty, as the case may be. I give this latter figure, as there is talk of taking me to Mexico; but nothing is definitely settled about that, so far. I do go to San Francisco. I think that I shall enjoy that extreme Western city, from all that I have heard about it."
59"And now your program?"
61"It's a pity—it's very classical. I play Beethoven as much as possible, also Schumann, Chopin, and, of course, Liszt. I also play old music from Scarlatti, Bach, Haydn, and something new from Henselt, but the only living composer whose music I include in my program is Johannes Brahms. I use the term 'only' with a modest reserve, as I do occasionally make use of my own piano pieces. One of these is a new concerto for piano and orchestra. I have already played it on the Continent something like nine times, I believe. I am looking for the printed score by every steamer's mail. Yes, I expect to play the composition in the States."
63"Who are your favorite composers?"
65"Beethoven, Chopin, Liszt, Brahms, in the order named. I am very fond of the Beethoven concertos and sonatas, and also play his chamber music—trios, quartets."
67"From your remark, 'it's a pity,' used a few moments ago, are we to infer that you consider classical music beyond the sympathy of American audiences?"
69"Oh, by no means!" Mr. Stavenhagen exclaimed energetically, as if to correct any possible error of impression. "But," he added, "it is not too much to suppose that every public appreciates a novelty if it is good at the same time that it is new. Nevertheless I shall try to interest my hearers."
71"What is your intention after America?"
73"I must be back by May 16 to play my own concerto in London with the old Philharmonic Society, under the direction of MacKenzie, at St. James' Hall. I will add that I am astonished that they should permit me to introduce my modern concerto in their classical program, because they are very conservative; but it is certainly a compliment that I deeply appreciate.
75"Ah, yes—my wife! I'll tell you about her possible movements. Mrs. Stavenhagen is a singer of chamber music under the patronage of the grand Duke of Weimar. She is a high soprano and also sings the Wagner, Weber and Mozart opera rôles. Damrosch has asked her to come out to the States and sing during his season of German opera in New York, but Mrs. Stavenhagen has not yet made up her mind.
77"That is owing to an invitation that she has received from Cosima Wagner to sing at Bayreuth. She heard her sing in opera at Dessau, and as my wife is a pupil of the late Richard Wagner's niece, the late Mme. Wagner (the original "Elizabeth" in "Tannhäuser"), Cosima Wagner has manifested a deep interest in Mrs. Stavenhagen's career.
79"Oh, to be sure!" exclaimed the pianist, ending up the interview, "I like my program-confrère, Jean Gerardy, very much. He's a splendid young fellow."
81Milan.—During the coming season at the Alhambra, Milan, a lyrical piece, entitled "Al Monte di Viggiano," will be produced. The work is by Signor Vincenzo Ferro, professor of composition at the Milan Conservatoire.
83Will Russell Sing in German?—A report has for a time been current that arrangements had been perfected with the view to the appearance of Miss Lillian Russell in Germany, in 1895-6, in the rôle of "Erminie" in German.
85A representative of THE MUSICAL COURIER called upon Miss Russell in reference to the news. He received the assurance that, although such a scheme had been put on foot early in the season, and thoroughly talked over, the project had been abandoned, owing to reasons which Miss Russell considered personal, and therefore not eligible for discussion or publication in the columns of a newspaper.
87Alboni's Houses.—I observe that the houses inhabited for many years by Madame Alboni, who died in June last, are about to be sold. Their history is curious. The great singer bought a plot of ground of about 2,000 square yards on the Cours la Reine, soon after the revolution of 1848. In her day artists did not get the high terms they exact now, but she had saved enough to enable her to make this purchase at a moment when everything was sold very cheap. She built a large mansion overlooking the river, and here she lived from 1849 till 1862. Madame Alboni then found, however, that the mansion was much too large for her requirements. So she built another and much smaller house adjoining the first one, and here she spent the last thirty years of her life. The put up price of the larger house is £48,000, and that of the smaller, £12,000. The proceeds are to go to the city of Paris, subject to a life interest in favor of Alboni's husband.
89According to the terms of her will, the bulk of her fortune is to be administered by the city of Paris for the benefit of the most deserving scholars in the public schools, each of whom, on attaining a certain age, is to be presented with a savings bank book, in which the sum of £10 is to be entered to his or her credit. In the course of frequent conversations on the subject Madame Alboni told me that her object in making this disposition of her property was to prevent any percentage being wasted in the administration. In the present state of politics in France endless difficulties in the administration of religious bequests are thrown in the way by the functionaries of a professedly free-thinking, or, to say the least, an anti-clerical government. She, therefore, tried to devise a scheme which would admit of no dispute and of no leakage, and she eventually hit on the plan of leaving something to the aptest scholars of every year. "If they are inclined to save," she said, "they will add to the trifle I leave them; and if they are too poor to save they will find the smallest donations of use."—Paris Correspondence London "Daily Telegraph."
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