Scan 40
Musical Courier 1894-12-12: Vol 29 Iss 770, 1894
71 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Two Orchestral Concerts.
3THERE were two orchestral concerts of interest during the past week. The Boston Symphony Orchestra gave its second concert of the season in the Metropolitan Opera House last Thursday evening and the New York Symphony Society gave its second afternoon concert Friday in Carnegie Hall, and its evening concert last Saturday.
5Here is what Mr. Paur's organization presented in the way of a program, rather a melange:
7Symphony No. 7, in A major, op. 92………………Ludwig van Beethoven
8Soli for violin—
9Adagio from Concerto No. 1, in G minor, op. 26………………Bruch
10Concerto in D major………………………………………Paganini
11Mr. César Thomson.
12Overture, "Die Verkaufte Braut"…………………….Bedrich Smetana
13"L'Arlésienne," orchestral suite No. 1…………………Georges Bizet one of two readings
14"L'Arlésienne," orchestral suite No. 1………………Georges Bizet one of two readings
15Symphonic poem, "Les Préludes"…………………….Franz Liszt
17This scheme was not adhered to, as Mr. Thomson, without any previous notification, substituted the first movement of Bruch's second concerto (D minor) for the more familiar slow movement in E flat from the first concerto.
19Mr. Paur was in a burly mood. He read the symphony in a reckless, even noisy manner, taking the allegros too fast and the poco sostenuto to the opening movement too slow. The scherzo was well played, however, while the last allegro was not only con brio, but with rudeness. Over-accentuation seemed to be the particular humor of the conductor, and Beethoven was served up with the most lurid tintings.
21The symphony was not nearly so satisfactorily played as the C minor last season. The Bizet numbers are out of place on a classical program, being al fresco in manner and savoring of the vaudeville. Mr. Paur is as unhappy as Mr. Seidl when he attempts works of the French school. He is not a versatile man, and his touch lacks delicacy, his temperament vivacity. Mr. Paur is bourgeois, honest and simple in his notions of things musical, and when he is not rough he is respectable and middle class in sentiment.
23The orchestra made a fine thing of Smetana's "Bartered Bride," which is no novelty here. The strings were excellent, although dense in tone at times, but the overture was played with dash. The wood wind distinguished itself in the Bizet minuet, and the trumpet in the allegretto of the symphony was off. This was accounted for by illness of the player, who is suffering from rheumatism. Liszt's preludes lacked brilliancy, color, precision, and oddly enough the string orchestra seemed to suffer in the matter of resonance. As a program it was entirely too long and illogically constructed.
25Mr. Thomson played marvelously well. Always objective, he stands apart from his work, which is the supreme exemplification of art for art. The adagio was played in sculptural style, without the intimate warmth in its rather banal measures which Ysaye infused at the later concert. The Paganini concerto was a miracle of virtuosity and a run of octaves in rapid tempo at the close set the audience wild with enthusiasm. Comparisons between Thomson and Ysaye may be invidious, but seem to be inevitable this season. We can say, with Goethe of himself and Schiller: We are both a couple of big fellows. The next concert of the Boston Band will take place January 10, 1895.
27While it was meet and just that Rubinstein's memory should be honored, yet the substitution of his "Ocean" Symphony for Brahms' lovely Second Symphony was not a very happy one in the musical sense. Mr. Damrosch wanted an "in memoriam" and so selected the "Ocean" as the piece de resistance for his second concert of the Symphony Society. This was his program:
29"Ocean" Symphony………………………………………Rubinstein
30Concerto No. 2, for violin with orchestra…………………Bruch one of two readings
31Concerto No. 2, for violin with orchestra…………….Bruch one of two readings
32M. Ysaye.
33"Tristan and Isolde," "Liebesnacht" (Scene from Act II)…Wagner
34Arranged for orchestra by Walter Damrosch.
35Theme and variations, for violin (new)……………………Joachim one of two readings
36Theme and variations, for violin (new)…………………Joachim one of two readings
37M. Ysaye.
38Prelude to "Hansel and Gretel" (new)…………………..Humperdinck one of two readings
39Prelude to "Hansel and Gretel" (new)…………………Humperdinck one of two readings
40(A fairy play in three pictures.)
42Five movements of the symphony were played. Rubinstein, who is garrulity personified in his symphonic work, composed this second symphony in C in 1857 or thereabouts. It was first played in this city by the Philharmonic Society in 1871. Rubinstein added two supplementary movements, an adagio and a scherzo, and in 1882 another movement called the "Storm" was added. The work of course was irretrievably weakened. As a matter of fact it is not a great work, though it is what the Germans call a "genial" composition. Rubinstein says nothing new, nor does he say it particularly well. The symphony has its interesting movements, and in the scherzo the Russian bear shows his claws, but the trio relapses into a Mendelssohonian mood, the Mendelssohn of "The Midsummer Night's Dream." The work might have been written by a mild, bespectacled German kapellmeister with an enormous reverence for the classics. The Symphony Orchestra under Mr. Damrosch played the work with abundant vigor, but not much finish at the afternoon concert. Saturday evening it went much smoother.
44Mr. Ysaye was in especially good form. He played the second concerto of Bruch with superb fire and dash. Not intellect predominated not in his interpretation, but all was warm blooded and musical. He played the Joachim Variations—a scholastic work—with ease, and the variation à l'Zardas and the finale with fine sweep and dash. He played Bach as an encore at both concerts, and was recalled many times.
46It must be confessed that Mr. Damrosch's excellent arrangement of the vocal parts of the "Liebesnacht" for orchestra, did not take the place of the human voice. The novelty by Engelbert Humperdinck was wholly enjoyable. A fresh, individual piece of music with "Meistersinger" coloring toward the close, it augurs much for the young composer's future. Absolute mastery of material, plenty of melodic invention and an orchestra language which is simply golden are the distinguishing characteristics of this prelude, which possesses also humor and delicate, naive fancy. We long to hear the opera in its entirety, and can readily credit the accounts of its tremendous success in Germany. The third concert of the Symphony Society takes place January 5, with the usual afternoon concert January 4.
48Rubinstein the Artist.
50ANTON GREGOR RUBINSTEIN was born on November 16, 1829, in the village of Vichvatvintz, Russia. His parents were in moderate circumstances. While Anton was still an infant they removed to Moscow, where his father established a small pencil manufactory, and his mother, a highly educated woman, became a teacher in the Imperial Seminary. The boy's talent for music manifested itself at the age of four, and his mother undertook his instruction. At the age of eight he knew all she could teach him, and she applied for advice to Alexander Villoing, a pupil of John Field, the English musician. Anton and his younger brother, Nicholaus, were put under Villoing's charge. Anton began to compose almost immediately, and his progress in playing was so great that he was exhibited at a concert in Moscow on July 11, 1839, when he was in his tenth year. During the next three years he traveled over Europe with his master, giving concerts as a "wonder child." His playing must have been remarkable even at that early period, for under his mother he had studied the works of Hummel, Hertz, Moscheles, Kalkbrenner, Czerny, Diabelli, and Clementi, and at his first concert in Moscow he played an allegro from a concerto by Hummel, an andante by Thalberg, and four minor pieces by Field, Liszt and Henselt.
52His tour, which began in 1840, originated in the desire of his mother to have him put to work in the Paris Conservatoire, and thither he went with Villoing. He was not admitted, however, owing either to the hostility of Cherubini (then Director of the Conservatoire) to foreigners or, as Rubinstein suggests in his autobiography, to Villoing's reluctance to part with the young prodigy. According to his own account he remained in Paris a whole year, and had no lessons except from Villoing. He gave some concerts in piano makers' halls, and at one of these, in 1841, Liszt, Chopin, Leopold Meyer and other celebrities were present. Rubinstein played alone and also with Vieuxtemps. At the close of the concert Liszt kissed the boy and exclaimed: "Das wird der Erbe meines Spieles"—"This will be the heir of my playing." That established Rubinstein's name. Liszt advised Villoing to take the boy to Germany, and thither they went, after visiting Holland, Norway, Sweden and England, where the pianist was graciously received by the young Queen Victoria.
54In London he had the good fortune to make the acquaintance and win the regard of Mendelssohn, but he did not attract public notice. At any rate Frederic Corder, in his article in Grove's Dictionary, says: "No doubt he played in public; but the periodicals are silent about him, and the only printed mention of him to be found is in Moscheles' diary for 1842 (Leben ii., 90), where he is spoken of by that genial master as 'a rival to Thalberg,' * * * a Russian boy whose fingers are as light as feathers, yet as strong as a man's." In the supplement to Grove's is a note stating that an account of his public appearance in London was printed in the "Musical and Dramatic Review" for 1842. Leaving England he went on a concert tour through Holland, Germany and Sweden, everywhere meeting with warm praise. The boy went home in 1843 and stayed there a year.
56In 1844 the family moved to Berlin, the parents being now convinced that the development of their young prodigy's talent was a serious duty. In this year he was placed under the instruction of the noted contrapuntist, Siegfried Wilhelm Dehn (born 1796, died 1858), teacher also of Glinka, Kullak and Kiel, who put him to work at harmony, counterpoint and composition. Mendelssohn and Meyerbeer were both in Berlin at this time and took a kindly interest in the boy. Both of them used their influence to curb the unruly spirit of Rubinstein, and they doubtless did much in guiding his talent toward self-control and repose. The lad wrote a sonata for piano and 'cello, some songs and piano pieces at this time which showed the benefits of the wise guidance of his teacher and his renowned patrons.
58Gregor Rubinstein, the father, died in 1846, and Anton was thrown upon his own resources. His mother, brother and sister returned to Moscow and he set out for Vienna, because, as he records in his autobiography, "it was a great musical centre and Liszt lived there." The great Liszt, however, received him coldly, and told him that "a talented man must win the goal of his ambition by his own unassisted efforts." Rubinstein gave lessons, lived in a garret, and composed incessantly. Often he suffered from hunger. Liszt, however, had not forgotten him, and one day hunted him up and at once invited him to dinner—"a most welcome invitation," says Rubinstein, "since the pangs of hunger had been gnawing me for several days. After that I was always on good terms with Liszt until the time of his death."
60In 1847 he went on a concert tour through Hungary with Heindl, a flutist. They conceived the notion of coming to America, and on returning to Berlin in 1848 Rubinstein consulted Dehn, who persuaded him to abandon the plan. He settled down to work at composing and teaching. Much that he wrote at this time he afterward recast or, with a severity of self-criticism which has not characterized his later years, destroyed. However, "Six Songs of the People," set to texts by Lowenstein; his "Persian Songs," and two piano concertos, No. 1, Opus 25, in E, and No. 2, Opus 35, in F, are still favorably known.
62On his return to Berlin he took lodgings in the Behren Strasse. The capital of Prussia was just preparing for the revolution. Rubinstein was there when it broke out, and he was so eager to go out into the streets that his landlady locked him in his room. "At that time," said Rubinstein in 1890, "I had no idea that, with the revolutionary movement a great change would be wrought not only in politics but in art as well." The troubles in Berlin deprived him of his lessons, and he was forced to set out for his home in Moscow. And now he met with an awkward adventure, which had much to do with shaping his future.
64He had to cross the Russian frontier, and he did not know that a pass was necessary. Consequently he had none. The strange hieroglyphics of his scores excited the suspicions of the Russian police, and his trunk was taken away from him. He was told to apply for it at St. Petersburg. He never saw it again. Worse than that, the police refused to believe any of his statements. He convinced them by playing the piano that he was, indeed, a musician, but that did not help him. Count Vielgorsky, who knew him, was sent for, but could do nothing. He, however, mentioned the matter to the Grand Duchess Helene, a generous patron of the arts, and through her influence Rubinstein was released from prison. She was endeavoring to start a new era in music, and she summoned Rubinstein to her court.
66He remained in St. Petersburg, studying and composing. He gave music lessons at from 1 to 25 rubles, and he wrote operas in the German and Italian styles. And he labored to found a musical profession, which at that time did not exist in Russia. There were no Russian composers except himself and Glinka, and Glinka was only a nobleman and landlord who practiced music for love of it. The tremendous importance of Rubinstein's work can be understood when it is recorded that he not only founded in 1859 the Russian Music Society for the production of larger orchestral works, at the head of which he stood for nine years, but in 1862 he established the St. Petersburg Conservatory. This labor alone entitled him to the gratitude of his countrymen, though in his autobiography he heaps the praise for the labor on Kolotrigov, who, he says, devoted his entire fortune to the cause. The enlightened patronage of the Grand Duchess Helene also had much to do with the success of these projects. Among the first instructors in the Conservatory were such eminent musicians as Leschetizki, Dreischok, Davidoff, Nissen-Salomon and Wieniawski, and in the first class were Tschaikowsky, Annette Essipoff, Cross and others of repute.
68In 1850 Rubinstein wrote a Russian national opera, "Dimitri Donskoi," which gave a powerful impetus to the artistic development of the music of his native land. Three minor operas, "The Siberian Hunters," "Toms the Fool" and "Revenge" were brought out in the succeeding two years. His important sonata, op. 39, for piano and 'cello; the string quartets, op 47; the trio in B flat, the violin concerto in G, op. 46; the sonata in F minor for piano and viola, op. 49, all belong to this period. He also produced during these years in St. Petersburg his famous Ocean Symphony, which made him known the world over as a composer; his oratorio, "Paradise Lost;" his operas, "The Children of the Steppes" and "Feramors;" his musical sketches, "Faust" and "Ivan the Cruel," and his sacred musical drama, "The Tower of Babel." His long residence in St. Petersburg suffered but one interruption, when, in 1854, Count Vielgorsky and other friends subscribed an amount sufficient to send him on a tour through Europe, which was one unbroken triumph.
70In 1867 he resigned the directorship of the St. Petersburg Conservatory "on account of dissensions." It is generally conceded that he himself was to blame for the difficulties. In fact he says in his autobiography: "This breach was partly caused, no doubt, by my hasty temper, for I am ever in deadly earnest, and the affairs of the Conservatory lie very close to my heart." He held no official position after his resignation, but devoted himself to composi-
The computer misreads some letters and numbers. Where a name matters to you, read the scan.