Scan 38
Musical Courier 1894-12-12: Vol 29 Iss 770, 1894
127 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1LEIPZIG LETTER
3LEIPZIG, November 12, 1894.
5NORDICA'S popularity, the result of her two engagements at the Opera, caused the Gewandhaus to be filled twice for the fourth concert, a rehearsal and an evening performance. Nordica has had a very great influence upon Leipsic. A powerful clique hitherto has made it almost impossible for an outside artist, especially coloratur, to receive fair treatment. In fact, few feminine stars are ever engaged for "Gastspiele," and the few exceptions are almost invariably dramatic singers.
7All artifice was brought into play long before Nordica sang here to prejudice to the public against her. But, fortunately, for once trickery was of no avail, and Nordica sang and played right into the hearts of the people. Of course those papers whose policy it is to antagonize Nordica printed hateful criticisms, the "Tageblatt," the largest paper of Leipsic, whose critic is a vicar in a public school and not a musician, even daring to compare her to chansonette singers, and printing that wonderful comparison in italics. There is, to the credit of Leipsic, be it said, an indescribable indignation at this act. At any rate, this faction carried it too far this time, and the wrong to Nordica has excited a feeling of revolt and resentment against the clique, newspaper and otherwise, which promises to be far reaching in its results.
9Nordica's triumphs were repeated, aye, surpassed at the Gewandhaus concerts. The insolence of two or three hisses came very near causing scenes that in the Gewandhaus would have been unprecedented. And Nordica fairly outdid herself. She has brought the Leipsicers to recognize that they themselves are the losers by their Philistine overestimation of local lights, and that further lethargy in regard to factions and cliques will in time lower the standard of art here to that of the smallest provincial cities. This was the program:
11"Aus der neuen Welt," Symphony No. 5, E, op. 95 (first time)…………………………………………..Anton Dvorák one of two readings
12"Aus der neuen Welt," Symphony No. 5, E, op. 95 (first time)………………………………………Anton Dvorák one of two readings
13Adagio.
14Allegro molto. Largo.
15Scherzo. Molto vivace.
16Allegro con fuoco.
17Recitative and cavatina, from "Queen of Sheba"………..Ch. Gounod
18Sung by Mme. Lillian Nordica, of New York.
19Fest Overture…………………………………………..R. Volkman one of two readings
20Fest Overture……………………………………………..R. Volkman one of two readings
21Aria of "Elizabeth," from "Tannhäuser"…………………R. Wagner
22Mme. Nordica.
23Four songs with piano accompaniment:
24"Les filles de Cadiz"…………………………………….Leo Delibes
25"Im Herbst"……………………………………………..R. Tranz one of two readings
26"Im Herbst"……………………………………………….R. Tranz one of two readings
27Berceuse………………………………………………….C. Chaminade one of two readings
28Berceuse…………………………………………………….C. Chaminade one of two readings
29"When Love Is Kind," old song………………………..Mme. Nordica.
30"Sylphentanz," from "Faust's Höllentanz"………………H. Berlioz
31Recitative and Polonaise, from "Mignon"…………………A. Thomas one of two readings
32Recitative and Polonaise, from "Mignon"………………..A. Thomas one of two readings
33Mme. Nordica.
35Dr. Dvorák's symphony was not played under the most favorable conditions. The desire to hear Nordica seemed so irrepressible, and expectation was at such a fever heat, that the interest of the audience at the evening performance was apparently not centred upon the orchestral novelty, as it would otherwise have been. At the public rehearsal each movement received very hearty applause. At the concert the scherzo pleased most, the largo also being received with marks of approval. All in all, it may be said that the symphony made a good impression.
37Dr. Dvorák's melodies, negro, Indian or otherwise, seemed to please, particularly in reference to the first movement. While probably no one would gainsay that such melodies are very adaptable to compositions of smaller form, it might be debatable ground whether they are suitable for symphonic treatment. Liszt certainly utilized Hungarian music as perhaps no other composer did, but he knew better than to take Hungarian themes for his symphonic poems or his symphonies.
39The characteristic and skillful orchestration and the masterly development of the original material with which the Dvorák symphony abounds was, it is safe to say, generally appreciated. The first few measures of the scherzo were startling in their similarity to the beginning of the same movement in Beethoven's Ninth Symphony. Is not Beethoven's great motive too individual to be used, even for two or three bars, by another?
41The Gewandhaus direction is greatly to be commended for the departure from extreme conservatism in submitting this symphony to the public. It is quite unusual in Leipsic to hear a symphony within a year of its publication. The fourth Gewandhaus concert was very interesting and very successful. Both in conducting the symphony and as accompanist Reinecke quite surpassed himself.
43In conformance with their custom the Academic Verein at their first concert exhumed some valuable works by the great pioneers in music. While the Gewandhaus direction confines itself to safe navigation in well-known waters between the great ports, and the Liszt Verein boldly explores strange and unknown shores, the Academic society shapes its course in directions not usually taken by the others, thus seldom coming within hailing distance of them. The orchestra numbers at this concert had been carefully prepared and were played in a finished manner throughout, by the orchestra of the 134th Regiment, Prof. Dr. Kretzschmar conductor. Each of the pieces received liberal applause.
45Brodsky, playing here for the first time since his return from America, was enthusiastically received. In Leipsic he is much thought of, especially as a quartet player. Classical repose and a conscientious appreciation of Bach's characteristics were the dominant features of his playing of the concerto as well as the encore, Bach's chaconne. Without in the least wishing to undervalue his importance and rank as a violinist, my own choice would have been that if America had to lose a violinist it should be Brodsky rather than Kneisel, Lismann or any one of several others.
47Mozart could not write badly, even for two pianos. His composition for two pianos sounded less like two pianos than any I have heard played, and that is the highest compliment I can pay it. It was creditably played, especially the part by Mr. Zwintscher. He showed excellent musicianship, and technically it was well suited to him. His partner, Miss Elizabeth Schmidt, displayed an insufferable amount of effusiveness, which was meant for feeling. She put an amount of feeling into the concerto that would have sufficed for half a dozen. Technically her part was acceptable. The concerto as a whole was a decided success. This was the program:
49Concerto grosso (No. 2, F major), for two solo violins, solo 'cello and string orchestra……………………………G. F. Händel
50Andante larghetto. Allegro. Largo. Allegro non tanto.
51Concertino: Messrs. Hamann, Doell and Piltz.
52Concerto (A minor), for violin and orchestra…………………Bach
53Allegro. Andante. Allegro assai.
54The solo violin by Professor Brodsky.
55Suite from "Platée"………………………………………Ph. Rameau
56Ouverture. Loure. Menuett dans le gout de vieille.
57Chaconne.
58Three movements from "Don Juan" ballet by……..C. W. v. Gluck
59Ouverture, Andante grazioso. Brillante, Allegretto risoluto, Allegretto. Allegro, Grazioso, Larghetto, Allegro.
60Concerto (E major), for two pianos and orchestra……..W. A. Mozart
61Allegro. Andante. Rondo.
62Piano, Miss E. Schmidt, Mr. R. Zwintscher.
63Sinfonie (B major, No. 12, Breitkopf & Härtel)…………….J. Haydn
64Grave, Allegro. Adagio. Menuett. Presto.
66The Lehrer Gesang Verein does Leipsic great credit. Hans Sitt as a drillmaster can hardly be surpassed, and he is not only an excellent drillmaster, but also a very capable conductor. Mr. Sitt is above all things thoroughly conscientious, and the concerts of the several societies under his guidance are always among the very best. To him it is also largely due that the pupils' orchestra at the Conservatory is of a very good grade, and often plays very exacting compositions quite creditably. Under Mr. Sitt's excellent direction the first concert of the Lehrer Gesang Verein was again an artistic achievement of the highest order. This program was heard:
68Credo, Sanctus and Benedictus, for male chorus, op. 28
69(for the first time)………………………………………R. Volkmann
70Concerto, for violin (A minor)………………………….H. Vieuxtemps
71Mr. Prill.
72Lieder—
73"Die Waldblume"………………………………………Bernh. Vogel
74"An die Leyer"…………………………………………F. Schubert
75"Unbefangenheit"………………………………………C. M. v. Weber
76Mrs. Metzler-Loewy.
77Two male choruses—
78"Song to Aegir"………………………………………H. M. Emperor William II.
79"Johannisnacht am Rhein"……………………………M. Meyer-Olbersleben
80Lieder—
81"Wenn auf den Gassen"…..
82"Dein"……………………………………………………Sitt
83"Hingegeben"…………………………………………..Mrs. Metzler-Loewy. one of two readings
84"Hingegeben"…………………………………………..Sitt one of two readings
85Mrs. Metzler-Loewy. one of two readings
86Solo pieces for violin—
87Legende……………………………………………….H. Wieniawsky
88Souvenir de Moscow…………………………………..
89Three male choruses—
90"Vollmondzauber"………………………………………J. Rheinberger
91"Es ist ein Traumlicht über Dir"………………………..H. Sitt one of two readings
92"Es ist ein Traumlicht über Dir"……………………….H. Sitt one of two readings
93"Jagdlied" (with accompaniment of four horns)………..E. Kremser
94(no line here) one of two readings
96The Volkmann Credo, Sanctus and Benedictus proved very impressive. It was sung magnificently and made a grand effect. The composition by Emperor William was not received enthusiastically, in fact the very subdued applause was surprising. Well, while it is a very creditable first effort by an amateur, it merits no place on a concert program. Still Aegir is being thoroughly introduced in Leipsic, from concert halls to refined concerts; even the Liszt Verein announces it for their next concert.
98The new chorus, unaccompanied, by Hans Sitt, was very well received, and justly so. It is an excellent composition and may be strongly recommended to male choruses in America. It will undoubtedly prove very taking whenever well sung. Musically it was greatly superior to the other choruses, excepting the Volkmann composition.
100Mrs. Metzler-Loewy distinguished herself particularly by her excellent Vortrag. Her selections were good and well sung. The composition by Bernh. Vogel is very superior, and the Sitt songs exceedingly pleasing.
102Mr. Prill, the concert master of the Gewandhaus orchestra, quite outdid himself. His tone volume he has developed very much within the last year, and withal he is entitled to rank among the first as a violinist. Mr. Prill is a credit to Leipsic.
104Many of the deplorable conditions in music have been exposed and combatted in the columns of THE MUSICAL COURIER, but one of the greatest impositions upon the American musical public has received so far little or no attention.
106I am decidedly in favor of free trade in music, and do not approve of the blind patriotism of some Americans whose favoritism to American taught artists or the productions of American born composers is harmful to the development of music rather than otherwise.
108But it ought not to be that it is almost essential for an artist to have European credentials in the form of press notices before he or she may hope for a hearing in the States, or that it is necessary first to have been a success in England. There have of course been exceptions where American artists have become generally appreciated solely on the strength of their merit. But they are the exceptions, and the numerous circulars and newspaper quotations of European criticism that are circulated testify most strongly that the general public in America is to a very large extent still laboring under the delusion that favorable European criticisms are always significant of artistic worth and consequently essential. If they knew the feeling of many artists here upon the insincerity and unreliability of very much criticism, and if they could realize how many artists (excellent artists, too) attribute their unfavorable criticisms to the fact that from principle they never court or pay for favorable criticism, or because some powerful clique antagonizes them, the worth of European criticism would be materially diminished.
110Despite the fact that criticism in Leipsic is at a stage where the incompetency and insincerity of many of the critics of the leading papers are town talk and the subject of long articles in the few papers that have remained invulnerable and maintained a high standard, what artist would undervalue the desirability from a commercial viewpoint of favorable Leipsic criticism?
112The "Zeitspiegel" in the issue of November 1 heads its leading editorial as follows: "It is known that in no other of the large cities in Germany are criticism upon theatre music and art, as well as the general journalistic conditions, as deplorable as in Leipsic. Leipsic journalism does not embrace one single authority, all being but breadwinners of an inferior class, and their pens are as dull and addicted to meaningless phraseology as their heads are empty and devoid, with few exceptions, of elementary knowledge, and their minds unscrupulousness."
114In view of such conditions it is not time for Americans to say, "Put away your European criticism, we can judge for ourselves; let us hear what you can do."
116Harry Brett, according to the "Leipziger Tageblatt," has undertaken the task of translating into German the entire Leipsic correspondence as it has appeared in THE MUSICAL COURIER for the past two years, the same to be published in pamphlet form. Whether Mr. Brett is moved by the laudable desire to improve his English or his knowledge by a careful study of writers upon the subjects he sometimes endeavors to discuss, or whether this publication is for the purpose of submitting to the Leipsic public criticism not influenced by the great clique, has not been divulged.
118AUGUST GÜSSBACHER.
120A Pittsburg Concert.—The concert by the faculty of the Pittsburg Female College and Conservatory of Music at Oakland M. E. Church, under the direction of Ad. M. Foerster, December 11, was heard by a large audience. The program contained works by Gade, von Weber, Chopin, Wagner, &c. Messrs. Ruhe, Rothleder, Foerster, Carl Retter and Elizabeth Matthews were the soloists.
122A St. Louis Choir.—At the Entertainment Hall, Exposition Building, St. Louis, the Bethania Choir, assisted by a chorus of 100 voices, under Conductor Saeger, recently gave the cantata, "Faith Triumphant, or the Healing of Naaman," with the following soloists: Adelaide Kalkman, Ruth Thayer, E. L. Newman, Percy Weston and W. M. Porteous.
124Miss Fay's Piano Recital.—Miss Amy Fay last week gave a piano conversation in the parlors of St. Mary's School, at Garden City, L. I. Among the selections played by Miss Fay were Beethoven's grand sonata in C major, op. 53; Chopin's allegro vivace, op. 51; a nocturne by Paderewski, a gnomenreigen by Liszt and a fantaisie, op. 17, by Schumann.
126Harlem Philharmonics.—The Harlem Philharmonic Society's concerts will be given in the new hall in Hammerstein's Opera House under the direction of Henry Thomas Fleck. Hollman, the 'cellist; Plançon, and Mme. Blauvelt are to be the soloists. The first public rehearsal and concert will be on December 19 and 20, when Roch's "Nord See Symphonie" will be performed.
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