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Musical Courier 1895-01-09: Vol 30 Iss 774, 1895
80 lines. Read by computer on 22 September 2026. Printed page 27. See the scan on archive.org.
1pedal, and this apparently rambling figure is in character the nub of the movement, although there are melodic episodes of tender, melancholy or sturdy nature. There is an example of peculiar instrumentation in episode molti tranquillo, where the harp and a few violas flow in unison against the song of the solo violin while a horn sustains.
3No violins are used in the eclogue. There are three flutes, two clarinets, two bassoons English horn, two horns, two trumpets, harp, kettledrums, and the usual strings with the exception noted. This movement is delightful in melody and in color. There is, for instance, a remarkable effect, due chiefly to the use of stopped trumpets. Against these effective, often strange combinations of color the solo violin stands out in bold relief.
5The finale is a series of variations on the plainsong "Dies irae, dies illa." The theme is declared moderato and then treated somewhat after the fashion of a passacaglia. The second verse of the plainsong is used later. The cadenza is rather a series of modulatory passages than a formal cadenza.
7Mr. Loeffler played with accuracy, and the peculiar brilliancy and purity that are peculiar to him. The solo part swarms with difficulties, but he played it with an air of provoking ease. He was applauded most enthusiastically.
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11Mr. Loeffler is a decadent. He believes in tonal impressions rather than in thematic development. How fastidious he is in his search after the proper, the one, the felicitous word! Do you know Jean Moréas? Or "L'Imitation de Notre-Dame la Lune," by Jules Laforgue? When I hear music by Mr. Loeffler I think of such decadents.
13Let me explain more fully, or more obscurely. There is a strange story, entitled "The Sixth Marriage of Blue Beard," and the man that dreamed it is Henri de Régnier. You must know that Blue Beard left a widow, Héliade, whom he loved dearly: the Shepherdess, who came to meet the wedding procession, clothed in naught but her loveliness, for she was poor and had no robe worthy her lord. Naked she was wedded to him, and she was sacred to him because he had slain his other wives on account of their robes. Each robe was in a room reserved for it in the great castle. Each room was odorous with a particular perfume. The furniture was in harmony with robe and perfume. And Blue Beard would spend hours going from room to room, stroking his long beard with its tinges of silver. The solitary Lover went still further in his melancholy pleasure:—
15"Far-off and fitting music came sighing through the wall. About the white robe (O tender Emmène, it was thine!) crept the slowness of the languishing viol; near the blue (which was thine, O naive Poncette!) the hautboy sang; by the side of thine, melancholy Blismode, a lute sighed because robe was mauve and eyes were always lowered; a fife laughed, and oh how shrill! to remind that thou wert an enigma, in thy green and choral robe. Tharsile! but the instruments sounded together when the master visited the robe of Alède, a strange robe, which always seemed to clothe a phantom; then the music whispered low because Blue Beard had loved this Alède with a mighty love. She was the twin of Sister Anne; you would have taken one for the other; and he yearned for a new wife who would resemble the two, because they are six in number, these shades that wander at night about the olden ruin, and it is the last one only who is clothed."
17It was Mr. Loeffler who should have arranged this music for Blue Beard. For he has the delicate sentiment, the curiosity of the hunter after nuances, the love of the macabre, the cool fire that consumes and is more deadly than fierce, panting flame.
19Mr. Loeffler is more than an experimenter in color. He is a man of refined and fantastic imagination. He has set some of Verlaine's verses to music; voice, piano and viola obligato. And the viola is the one instrument that would sympathize with Verlaine.
21Do you wish me to tell you about the variations on the "Dies irae"? You must hear them for yourself. Would it be of benefit if you knew that the theme was first handled thus and in the next place so! If you are adamant in the matter of form you will undoubtedly exclaim, "Very clever and superbly played." And if that is all you say you never will understand Mr. Loeffler, for to him there is no absolute proof that 2×2=4.
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25Nor did the juxtaposition of Mozart and Loeffler injure either. In keeping, too, were the air and the saraband from Grieg's suite. Then, with crash and fury and bursting of blood vessels, the music of Dvorák dismissed the audience that was fired with her bacchantic fury before she told them the full purport of the tender andantino, which is as though lovers sighed and whispered in a dimly lighted cul-de-sac, while the Carnival torrent swept impetuously through the neighboring thoroughfare. PHILIP HALE.
27Boston Musical Notes.
29There are many teachers here who have taught celebrities, but Mr. Gedeone Olivieri appears to have had the largest number of them, the majority of the singers of the present opera company, as well as some who were heard last year, having studied with him in Paris at one time or another—both the de Reszkés, Melba, Calvé, Lassalle, Nor-dica and Emma Eames making an imposing and valuable list, of which any teacher might be proud. Mr. Olivieri's studio is pleasantly located just opposite the Public Garden, with plenty of air and light, as well as a fine view to make it attractive. But one of the greatest attractions are the photographs which decorate one side of the large room. They are all of pupils. The one of Jean de Reszké is inscribed "To my friend" and thanks Mr. Olivieri for his wise teaching; from Edouard de Reszké, "To my friend and master," while the others bear autographs of the singer with various sentiments of friendship and affection. The picture of Calvé is superb, a large photograph with all the accessories of dress to make a most artistic picture, quite unlike any that were shown last year during her stay in this country.
31It is interesting to hear these celebrated people spoken of so familiarly; to hear that the de Reszkés are friends as well as pupils; that after her first lesson from this teacher Emma Eames said: "Mr. Olivieri, now I see before me a new horizon; now I understand what singing means; that Calvé studied 'Carmen' with him, and that Nordica, who had gone from Paris to London, where she was singing in concerts, yet felt the need of more lessons and would telegraph from London arranging to return to Paris for one or two days' study whenever possible. It almost seems as if the list of celebrities was so long it could not be added to in this country, but Mr. Olivieri says that he has two pupils now who will make great names and reputations in the future.
33Mr. Clayton Johns' concert on Wednesday afternoon was like a reception or private musical, where everybody seemed to know everybody else, so that before the singing began and during the intervals the noise of loud conversation was heard all through the hall. The audience was principally ladies, who appeared to be acquainted with the artists and took a personal interest in the success of the affair. There was a sprinkling of men, musicians for the most part, who helped with the applause, which was friendly and discriminating. The songs that appeared to be the favorites were "The End of the Day," which Miss Gertrude Franklin had to repeat; "Peu de Chose," which the audience almost asked Miss Lena Little to sing a third time; "Heroes" and "The Miller's Quest." The words of the last group of songs, six in number, were by Oliver Herford, five of them being from "Artful Anticks." Mr. Johns has the sole right to set the words of this book to music.
35Mrs. Elene B. Eaton will give two recitals, January 28 and February 4, at Chickering Hall, when she will sing a number of songs by resident composers. She will also sing the brilliant "Polacca" from "I Puritani," and "Elizabeth's Greeting" from "Tannhäuser," which will give an idea of the varied character of her work. Mrs. Eaton was to have sung this season at the Royal Albert Hall, London, under Sir Joseph Barnby, opening with "Israel in Egypt," but the contract was canceled owing to engagements in this country.
37January 2 the president of the Händel and Haydn Society, Mr. J. Parker Browne, gave a charming performance of "The Messiah" for the benefit of the Maiden Hospital in the large auditorium of the First Baptist Church of that place, just completed. The best solo talent was secured and 100 of the best voices in the society were selected for the chorus. Mr. B. J. Lang presided at the organ and Mr. Carl Zerrhan conducted the large orchestra. It is said that the most notable successes of the concert were the splendid rendering of the "Hallelujah Chorus" and the fine singing of Mr. Arthur Beresford.
39Miss Faith Morse, who was recently heard in concert, was for six years a pupil of Mme. de Angelis, of this city, and afterwards studied four years with Mme. Artot, in Paris. Last year she sang at the Crystal Palace, London, returning to this country in July. Her selections for her first appearance here were the "Waltz" from Mireille; "Perles d'Or," by Thomé, and Chopin's "Mazurka," arranged by Madame Viardot. Miss Morse will probably be heard soon in New York.
41Mr. Joseph Gregory is the fortunate owner of the bronze medal given by the Royal Academy of Music, London. The medal was awarded by Signor Garzia, as the prize for oratorio singing, of which Mr. Gregory made a special study with W. H. Cummings and Fred. Walker, vicar choral of St. Paul's Cathedral.
43There will be no Symphony rehearsal or concert this week.
45The Mystery Minstrels, a large company of young ladies and pickaninnies, will give an entertainment in Horticultural Hall Friday and Saturday, the 18th and 19th.
47The following is the program of Mr. Carl Faelten's recital in Bumstead Hall, Friday afternoon, the 11th, at 3 o'clock: Bach, chromatic fantasia, andantino, D major, from short preludes; gavot, D minor, from English suites; prelude and fugue, A minor; Beethoven, "Pathetic" sonata, rondo, G major, op. 51, No. 2; Brahms, scherzo, E flat minor, op. 4; intermezzo, B flat minor, op. 119, No. 2; variations and fugue on a theme by Händel, B flat major, op. 24. The second recital will be given the 21st.
49Mr. Eugene Ysaye, assisted by Miss Theodora Pfaflin, soprano, and Mr. Aimé Lachaume, will give a concert in Music Hall Saturday afternoon, the 12th, at 2:30. He will play with Mr. Lachaume a sonata for violin and piano by César Franck, and these pieces: "Fantasia Appassionata," Vieuxtemps, sonata in D minor, Bach, and three pieces of his own, "Scene au Cerneau," mazurka, No. 3, and "Saltarelle Carnavalesque." Miss Pfaflin will sing songs by Schubert, Rubinstein, Mozart, Tchaikowsky and Saint-Saëns.
51The program of Mr. Arthur Whiting's first chamber concert in Bumstead Hall the 15th at 3 o'clock will include Brahms' variations and fugue on a theme by Händel; songs with viola, C. M. Loeffler; bagatellen, Whiting; songs by Mascagni and Miss Lang; suite for violin and piano, H. W. Parker. Miss Little and Mr. T. Adamowski will assist. The second recital will be on Tuesday evening, February 12.
53The program of the next Symphony concert, the 18th, will be made up wholly of selections from the operas of Wagner. Miss Suza Doane, a pianist, assisted by Mr. Schroeder, 'cellist, will make her first appearance here in Steinert Hall the 15th.
55The Third Symphony Concert.
57THE third concert of the New York Symphony Society occurred last Saturday night in Carnegie Hall, the afternoon concert being given the day previous. The occasion was a unique one, for the conductor of the society, Mr. Walter Damrosch, appeared in the rôle of a composer and enjoyed a night of triumph. The program was:
59Symphony III. in E flat…………………………………………..Mozart
60"The Scarlet Letter"…………………………………………..Walter Damrosch
61Opera in three acts. The dramatic poem by George Parsons Lathrop. (New; first time.) The First Act entire.
62"Scene in the Forest," from Act II.
63Hester………………………………………………………..Lillian Nordica.
64(By kind permission of Messrs. Abbey & Grau.)
65Arthur………………………………………………………..Wm. H. Rieger.
66Chillingworth……………………………………………..Giuseppe Campanari.
67(By kind permission of Messrs. Abbey & Grau.)
68Wilson………………………………………………………Ericson F. Bushnell.
69Governor……………………………………………………Conrad Behrens.
70Brackett…………………………………………………….James F. Thomson.
71Puritans…………………………………………………The Oratorio Society Chorus of 400.
73The lovely Mozart symphony, with its purling passages, unforced melody, suave, graceful themes, made an admirable contrast for Mr. Damrosch's rather strenuous music-making and high-keyed, intensely modern coloring. There was much enthusiasm displayed after the performance of the first act. Mr. Damrosch made a brief speech, in which he confessed that a concert room was hardly the proper place for operatic excerpts, but it was the best the American composer could do under the present condition of affairs. Taking his speech as a text, we might add that it is obviously unfair to criticize a dramatic work in the concert room. The first impression of "The Scarlet Letter," however, was a favorable one. Mr. Damrosch we always recognized as a skilled musician, but that he had such mastery as a composer is a surprise, we confess. He handles the materials of his art on the purely technical side with uncommon ease and taste. His scoring, turgid and overladen as it is at times, reveals the color instinct.
75There is over-elaboration, too much striving for effect and an absence of simplicity in this first act which are, after all, youthful sins. The Wagnerian orchestral language is almost exclusively employed. Sonority and richness are aimed at, and often gained, at the expense of variety of nuance and delicacy. The choral writing is very bold and massive. Indeed, with its very patent defects, Mr. Damrosch's music has a flavor of maturity and a freedom of style which are very encouraging signs for his future. The story has little of Hawthorne in it. Indeed, it would be difficult to transfer to a libretto the wonderful atmosphere of the New England romance, and of a surety Mr. Lathrop has not attempted to do so. His book is not even dramatic. But the score is. A certain want of individual profile in Mr. Damrosch's themes is also a drawback to this act.
77The two numbers from the second act are much more satisfying. "Hester's" song is a broad, deeply felt cantilena, which Nordica sang very well. The madrigal is winsome and very effective. We would enjoy hearing the work in its entirety and on the boards of an opera house. But as a maiden effort there is no denying the marked impression made by Mr. Damrosch's music. The performance was not without faults, but it was a fervid one throughout. Mr. Damrosch has every reason to congratulate himself on the reception accorded his first opera by public and press alike.
79The next concert of the Symphony Society takes place February 2. Jean Gerardy will be the solo performer, and is announced to play Saint-Saëns' concerto for violoncello. A new overture by Mackenzie, Beethoven's second symphony, and a Berlioz number will make up the program. What has become of the Brahms symphony announced at the beginning of the season? Rubinstein's death altered its position on the program of the second concert, but we hope Mr. Damrosch will not permanently shelve it.
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