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Musical Courier 1895-01-09: Vol 30 Iss 774, 1895
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1tors and church dignitaries gathering almost every night throughout the season to discuss politics, art, literature and gossip, which was every now and again interrupted in order to listen to Liszt's performances on the piano. Like Mezzofanti, she is a perfect Babel of tongues, and while sipping her Russian tea and puffing away at a large Havana cigar, which she has always been in the habit of smoking, she would chatter away with ease in Polish, German, Russian, French, English, Italian or Spanish.
3Conversant with theology and metaphysics, she was wont in those days to transmit many of her casuistical disquisitions and dogmatical pamphlets to Pope Pius, who in return would send her bouquets from the gardens of the Vatican to mark his satisfaction at her religious zeal. It is doubtful, however, whether he ever took the trouble to read any of her writings, and it is certain that he never recommended them as text books to the students of the various theological colleges at Rome.
5When Liszt died it was found that he had appointed the Princess executrix of his will, and since then she has divided her existence between her villa at Ouchy, near Lausanne, on the shores of the Lake of Geneva, and her mansion in the Rue de l'Université here, where she is lying so seriously ill as to have necessitated the presence of her step daughter, Princess Hohenlohe. She lives surrounded by relics and souvenirs of that illustrious composer who may be said to have constituted the romance of her entire life, and it is believed that she has in her possession many unpublished scores of his, which will probably be placed within reach of the general public when she dies.
7She has been an invalid for several years, being almost entirely bed-ridden, and among her idiosyncrasies is her horror of the light of day, her windows always remaining closely shuttered and the blinds drawn until darkness sets in. Another once famous beauty who manifests a similar aversion to daylight is the Comtesse de Castiglione, who played so important a rôle during the reign of Napoleon III., and who remains on record as the most perfect type of feminine loveliness of the present century.—"Tribune."
9Mr. Huss' Piano Concerto in Boston.
11TO return now to Mr. Huss and his concerto. The latter, which is still in manuscript, had its first public performance at the public rehearsal yesterday afternoon. Then, and at the preparatory rehearsals, Mr. Huss himself heard the orchestral part for the first time. This fact, coupled with the impression made by to-night's performance, is calculated more than anything else to disclose to a student of musical affairs the great good that an organization firmly founded like the Boston Symphony can do. It is a splendid educator for young composers; for, in music, only hearing is believing. Mr. Huss is a young man, and, though he is exceedingly industrious, a tireless worker and scrupulously conscientious in all he does, he is still in the midst of his storm and stress period. Having so superb a thing as an orchestra at his command, he forgot the obligation of discretion which that circumstance placed upon him. He has greatly lessened the effectiveness of his composition by overwhelming the solo instrument in the mass of orchestral tone.
13It is no longer possible to say that it is wrong, even in a concerto, to make the piano an integral part of the band, but it must not be asked to yield up all its rights of predominance. Mr. Huss' concerto did not seem to-night to be written for the piano with orchestral accompaniment, but for orchestra with piano obligato. To some extent it was evident enough that this effect was due to the fact that Mr. Huss' playing of the solo part was not sufficiently assertive. To play the last movement as well as it ought to be played to bring out all its contents would require the steel fingers of a Liszt, and these Mr. Huss does not possess. A nearer approach to the proper relationship between the solo and orchestral parts, so far as the writing is concerned, was maintained in the second movement, which is orchestrated most charmingly, and for which I had been led to expect a most delightful effect, greater indeed than proved to be the case, because of a want of fullness and richness in the piano performance. The movement is the most fluent and ingeniously conceived one of the three of which the concerto is composed, and its spirit can be guessed from the paraphrase of its themes for piano solo, which is printed on the nineteenth page of this issue of the "Tribune." It is not altogether easy to describe the impression made by the concerto. Each movement was respectfully applauded by the audience, and at the close of the whole work the musicians on the platform and in the audience led in a hearty recall of the composer-pianist. It was evident, too, that Mr. Paur took a genuine interest in the concerto, for he conducted it with great care and devotion, and had plainly spared no pains in the preparatory rehearsals, though he might have subdued his band more.
15It may, therefore, be said that so far as these things are an indication, Mr. Huss satisfied his hearers. But it must also be said that the new concerto is more interesting than it is charming, and better calculated to hold the attention of those who are able to discern its workmanship than to give simple pleasure to amateurs merely. Mr. Huss has a great deal of learning and he has applied much of it in constructing this concerto, but with it all he did not quite succeed in preventing the piece from sounding fragmentary—this, I fear, because the melodies, with all the elaboration to which they were subjected, did not seem to be developed logically or of necessity, but rather from a desire to show what might be made out of them. The concerto has many beautiful and effective movements, both in thought and expression, but as a whole it lacks the effects of climax and contrast. It was the middle number in a scheme of three, the concert opening with Tchaikowsky's "Pathetic" symphony, which was new in Boston, and ending with Berlioz's overture to "Benvenuto Cellini."—H. E. K., in New York "Tribune."
17Take Mr. Huss in the present instance. He comes forward with a concerto such as no one but a Brahms or a Tschaikowsky has any reasonable right even to attempt writing. In its length, in its imposing largeness of plan and prolixity of treatment, it aims at the very greatest things. Take the first movement: there is a first theme with two subsidiaries, a second theme with its subsidiary, and a double headed conclusion theme; in a word, all that any composer can allow himself in a symphonic movement on the very largest scale. Now look through—we will not say a sonata or concerto, but any largest symphony by Beethoven or Brahms, find one in which there is such a plethora of thematic material, and see if the composer has in a single instance permitted himself to work out all this material in his second part! We have not made the experiment ourselves, but we are none the less pretty sure that such an instance cannot be found. Yet this is just what Mr. Huss has done. The labor he has undertaken is positively Herculean—such as hardly a great composer has attempted. What possible tenth part of a chance of success was there? And the other movements, if not planned on quite as gigantic a scale as the first, aim all too evidently in the same direction.
19When Beethoven had written the first movement of his violin concerto—a movement which nothing but the composer's all-conquering genius saves from being a monstrosity—he followed it up with one of the shortest slow movements and one of the lightest finales on record. Mr. Huss goes on as if his first movement had been the merest trifle. There is no need of mincing matters; Mr. Huss' concerto is too big a thing for any but the most consummate and experienced genius to have carried through strongly and effectively. There is much good in it; there is even considerable skill shown at times in the development and working out—now and then one comes upon a phrase of real geniality. But the strength of arm and length of breath requisite to carry through such a labor without the interest flagging and without incoherencies and lapses of all sorts appearing on every hand is not his. Barring Brahms we know of no man living to-day who could have carried through such a work! And note also that the tendency of young composers to attempt such enormous tasks is no inducement to either concert givers or audiences to look smilingly upon them. Let Mr. Huss write something a quarter as long and he will have double the chance of playing it twice as often.—Boston "Transcript."
21The concerto by Mr. Huss is a thoroughly well written work, but the orchestra is more prominent in it than is the solo instrument. In fact, in the first movement, the piano appears to be very much of a superfluity, and it adds nothing to the meaning of the concerto, and not infrequently has the effect of intrusiveness. The movement is very long, and for all that it says of importance there is no reason why it should not end in the middle or be prolonged to double its length. There is overmuch of arpeggioing that means nothing, and one of its themes is a fragment of Bizet that has lingered in the composer's memory and strayed into the work. The orchestration is too heavy through the whole work, and overwhelms the solo instrument at almost every turn. The slow movement is a succession of clever and often pretty modulations, leading to nowhere in particular except into the flower garden of Gounod and the conservatory of Wagner.
23It is in the finale alone that the piano is made to assert itself vigorously in a solo aspect; but what it is all about is not easy to discern on a first hearing. The fault of the work, too heavy instrumentation, is most prominent in this movement. Mr. Huss played the first and second movements with clearness and brilliancy, manifesting the possession of a well trained technic, but in the more exacting finale he appeared scarcely equal to the task he had set himself. To sum up in a few words, the work is eminently well and intelligently made music, evidencing a thorough knowledge of the resources of modern musical art and admirable musicianship. It is never commonplace and never sinks to mere virtuosity; but it is too long for what it has to say, is wondrous in effect, and now and then a little tiresome. Mr. Huss was heartily received, warmly applauded and recalled after his playing of his concerto.—Boston "Herald."
25A Reception to Scharwenka.
27ON Monday evening last Steinway Hall presented the gayest scene of fête known within the old walls in years. It was the forty-fifth birthday of Xaver Scharwenka, pianist, composer and revered "Herr Professor" of a large class of enthusiastic piano students. These same students prepared a musical surprise for him, and under the direction of Miss Hella Seydell an exclusive Scharwenka program was prepared and given as follows:
29Trio, op. 1, piano, violin and 'cello, first and second movements………………………..
30Miss Seydell, Señor Albertini and Mr. Hegner.
31Aria, "Mataswintha"………………………..
32Mme. Zippora Monteith.
33Thema and Variationen………………………..
34Miss Fannie E. Levy.
35Andante Religioso, 'cello and piano………….
36Mr. Anton Hegner.
37Spanish Serenade………………………..
38Master Arthur Hochmann.
39Songs—
40"Es muss ein Wunderbares sein"………….
41"Sonnenlicht, Sonnenschein"………….
42Mme. Monteith.
43Serenade, violin and piano (MS.)………….
44Señor Albertini.
45By request…………………………………..
46Prof. Xaver Scharwenka.
48Herr Scharwenka had but brief notice of what was in store for him. A bevy of musical young men and maidens escorted him to the concert room, making a pretty picture in their gay evening dress, and down in front, surrounded by his beaming class, the professor sat beaming himself to listen to a program of his own works given in thoroughly artistic manner by a qualified corps of artists.
50The principal surprise of the program was the performance of the MS. "Serenade" for violin and piano, which Scharwenka wrote in Europe this past summer, but which he had not yet heard played. Mr. Lavine, his manager, managed to get a few proofs struck off without warning him. Señor Albertini and Miss Seydell rehearsed privately, and result—an admirable performance of a charming new work and a delightful surprise for the composer.
52There were flowers and garlands and souvenir satin programs for distribution among the artists, and at the close of the performance a huge laurel wreath was handed the professor, tied with long loops of crimson. On one end was printed in gold letters: "With best wishes to our Professor from his pupils," and beneath this in pencil were written the names of most of the class present, among which were:
54Selma Asiel, Fannie E. Levy, Adele W. Smith, Lavinia French, Louise Romaré, Arthur Hochmann, Jessie L. Gardner, Helen Collins, Nellie Knapp, Cora B. Allen, Bianca Noa, M. Crane and Augusta Nienstedt. The list continued to an elaborate length, but in the enthusiasm and excitement of penciling signatures at the last moment became indistinct to the outsider. But "the dear Herr Professor" knew all about it.
56The trio with its ever fresh and lovely first movement was played by the three artists in a way to make Scharwenka feel musically glad. He was, too. Anton Hegner gave the "Andante Religioso" with a delightful breadth and dignity, and Señor Albertini played the new "Serenade" with spirited grace and finish. Miss Hella Seydell is known of old as a sympathetic Scharwenka student, who plays his compositions all con amore. She played musically well, and Mme. Zippora Monteith, who sang the "Mataswintha" aria, earned abundant applause and after the last two songs got a big congratulatory handshake from the professor.
58The little boy Hochmann is remarkable. His clearness and delicate finesse brought down the house, and of course the Professor felt justly proud of his prodigy pupil, as also of Miss Fannie E. Levy, who played the theme and variations with excellent clearness and force.
60After the concert the entire class, with a number of prominent musicians who were present, returned with Herr Scharwenka to his house, where Mme. Scharwenka had a delightful supper and held a reception. It was a wholly genial and memorable occasion, and charmingly typical of the affection and respect in which Xaver Scharwenka is held by his own pupils and the musical world of New York in general.
62Musical Items.
64Mme. Albani Sang for Charity.—BERLIN, January 7.—Mme. Albani gave a concert this afternoon for the benefit of the British and American Home for Governesses. Ambassador Runyon and Mrs. Runyon, Sir Edward Malet and his family and many members of the Anglo-American colony were present.
66The Philharmonic Society.—The Philharmonic Society's third public rehearsal and third concert occur on Friday afternoon and Saturday evening of this week in the Metropolitan Opera House. César Thomson is to be the soloist and is to play Goldmark's violin concerto in A minor. The orchestra, under Anton Seidl's direction, is to play Dvorák's "Overture Trilogy" and Haff's "Lenore Symphony."
68Johann Strauss to Rudolph Aronson.—Rudolph Aronson is just in receipt of a letter from Johann Strauss, wherein the famous waltz king thanks Mr. Aronson for the dedication to him of his "Strauss Jubilee Waltz." Following is an extract from the letter:
69"Herzlichsten Dank fur die Widmung Ihres reizenden Strauss Jubilee Walzer.
70JOHANN STRAUSS."
72Mapleson in Paris.—Col. Henry Mapleson informs THE MUSICAL COURIER that he has opened an international musical and dramatic agency at 11 Rue Sainte Anne, Paris. He will be pleased to meet artists and attend to their wants in Paris, or anywhere, for that matter.
74Socialism in Berlin.—The socialistic committee of the sixth district of Berlin has struck off the member list a certain Sch, who is an organ grinder. His crime is that he has in his repertory the airs of "I am a Prussian" and "The Watch on the Rhine."
76Sousa's Band Route.—Sousa's Band will give concerts in the following places during this month: January 10, Paterson, N. J.; 20, Washington, D. C.; 21, Norfolk, Va.; 22, Richmond, Va., matinée and evening; 23, Baltimore, matinée and evening; 24, Hagerstown, Md., matinée; 24, Chambersburg, Pa., evening; 25, Harrisburg, Pa., matinée and evening; 26, Philadelphia, matinée and evening; 27, New York city.
78Mr. Thomas R. Deverall, Suicide.—Thomas R. Deverall, once a well-known bandmaster and musician in Brooklyn, committed suicide in his room at No. 627 Fulton street last evening by turning on the gas. He was over sixty years of age, and had been dissipated in recent years.
80Notice was recently served upon him that he was the defendant in a suit to recover $9,360, which was paid to him for the music which he furnished in connection with the parade in the Columbian celebration and dedication of the Memorial Arch in 1892.
82When the arrangements were made for the parade, Deverall was engaged to furnish the bands for the military and Grand Army of the Republic divisions, and the school boys who paraded. He put in bills amounting to $18,500, which were paid. When the investigation was made it was found that these bills were extortionate.
84In the proceedings for readmitting them Deverall was called as a witness before the mayor, controller and auditor. Little was learned from him, as he protested that an attempt was made to impose upon him. The dead musician had been bandmaster for the Ninth, Thirteenth, Fourteenth and Forty-seventh regiments, and had led orchestras for years. His life was insured for $14,000.
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