Scan 7
Musical Courier 1895-01-09: Vol 30 Iss 774, 1895
110 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1could only come to the conclusion that either Pachmann had dined too well or that he is on the road to rapid decadence. He began with Schumann's "Etudes Symphoniques," which, anyhow, are somewhat beyond and outside of the pale of his best genre. The broadly spread and massive chords are not Pachmann's forte, and the Schumann technic is not exactly suited to Pachmann's hands. However, he went at it boldly and smashed things to smithereens, which I never heard him attempt heretofore. His memory failed him three times badly during the performance of these variations, and the halts and mishaps became at moments decidedly painful. Then he used the pedal unmercifully, a fact which I also never before noticed in Pachmann, whose playing always seemed a model of cleanliness. But these études symphoniques are, as I said before, in every way beyond him. I hoped for something better in the smaller fantasy pieces, "Aufschwung" and "Traumessirene," but it never came. After this first portion of the program there was a little applause, which made Pachmann immediately jump back to the stage and which provoked him to play as an unsolicited encore the Schumann E major novelette, which fared no better at his hands than the previous pieces.
3I was sorry I had to leave then, for I am sure that in the Chopin pieces, which formed the last part of the program, Pachmann did much better.
5* * *
7At the Singakademie the English pianist, Miss Fanny Davies, gave a concert a little later in the evening. She is an excellent pianist and a pupil of Clara Schumann. Her performance of the Mendelssohn prelude and fugue in E minor, op. 35, and of Beethoven's op. 110 sonata, I missed on account of the Pachmann recital. Her playing of some of the Schumann Pedalflügel studies (sketch in F minor from op. 58, canons in A flat and B minor from op. 56), as well as Liszt's "Waldesrauschen" and Chopin's Scherzo in C sharp minor and an encore piece, gave me much pleasure. It was not really grand or rousing piano playing, but it was thoroughly musicianly, clean, well shaded and interesting. The English are not by nature very warm, but if you find a truly musical one among them the lack of warmth is atoned for by a kind of staid correctness which also has its charms. I can easily understand, therefore, that Miss Davies is highly praised in her own country and that such a classicist as Joseph Joachim is one of the young lady's staunchest admirers.
9He and his associates, Professors Worth and Hausmann, were the co-workers at this well attended concert and joined Miss Davies in an excellent performance of Brahms' G minor piano quartet, which was received with well merited applause after each of the four movements.
11* * *
13Apropos of Clara Schumann, whom I just had occasion to mention, I want to tell you of a little episode which recently happened at Frankfort-on-the Main. Kogel, the ambitious conductor of the old-time Saalbau symphony concerts and one of those modern interpreters whose principal aim is to try for effect, had just finished the Schumann B flat symphony. Proud as a peacock of the applause which rang in his ears he walked up to Mrs. Schumann and, expecting to be praised, asked her how she liked the performance. "It was not at all according to the ideas of my husband," the lady quietly replied, when Kogel, unabashed, blurted out, "but it was much more effective." The incident roused Wilhelm Jordan, the aged poet of the "Nibelungen" to the following philippic against this modern conducting of old works, which some of the American conductors also might read with advantage:
15Prahler mit Gauklergeschick, die das schier Unglaubliche leisten,
16Weil sie mit zäher Geduld Jahre lang Tage verbrüt,
17Hindernisstrottenden Weg auf Paradegüchten zu reiten,
18Haben ja stets die Musik auch zum Sockel entweht
19Ihrer koketten Person. Doch neuester Mode Geschöpf erst
20Ist der des leitenden Amts waltende Pultvirtuos.
21Stolze Vereine sogar zur Pflege der klassischen Tonkunst
22Schaffen Regenten sich an, welche den Titel verdient,
23Allermodernsten Geschmack für Gartenkonzerte bewiesen,
24Schaaren zusammengekocht, Beifallstürme geweckt.
25Eifrige bemüht sich die Herr'n mit zappigen Gesten und Mimik one of two readings
26Eifrigh bemüht'n sich die Herr'n mit zappigen Gesten und Mimik one of two readings
27Schaubär zu machen den Sinn nervenzerrüttenden Lärms,
28Jüngste Gedankenmusik zum Verstande reden zu lassen,
29Handlung, Szene, Begriff ohne Gesang ins Gehör one of two readings
30Handlung, Szene, Begriff' ohne Gesang ins Gehör one of two readings
31Wie mit gesprochenem Wort nur mit Tönen hinein zu motiveln.
32Da man die Abende ganz schon zu vergeden sich scheut
33Mit dem Giggeln und Spuk nach langen gedruckten Programmen,
34Auch von den Alten ein Nest leucht nach gediegener Kost,
35Wendet man wenigstens keck die nämliche Vortragsmethode
36Auch auf Mozart, Gluck, Bach und Beethoven an,
37Thut, als hätten auch Die zu Sprechversen erniedrigt
38Die des Unzähligen Reich uroffenbarende Kunst,
39Die das Gemüth uns befret mit strengster Gesetzeserfüllung,
40Bis wir empfändig gelöst ahnen das Rätsel der Welt.
41Dreist verwirft man das Mass, das vorgeschrieben die Meister,
42Steigert zu tollstem Gehatz eilende Sätze, zerreicht
43Schleppend Adagiosang zu spinnwebdünnem Gesäusel,
44Um durch Bassegebrüll, Becken- und Paukengekrach
45Desto erschreckender stracks zu betäuben die Mehrheit der Lauscher.
46Die ja was stachelt und packt immer frenetisch beklatst.
47Einer des Schlages, der so zum Erkitzeln thörichten Beifalls
48Auch das erhabene Werk ohne Bedenken verhunzt, one of two readings
49Auch das erhabenste Werk ohne Bedenken verhunzt, one of two readings
50Hatte in dieser Manier das Tonstück eines Verstorbenen
51Neulich verkürzelt. Als ihn mit Donnerapplaus one of two readings
52Neulich verkürzt. one of two readings
53Als ihn mit Donnerapplaus one of two readings
54Wieder belohnt die so weit schon misserzogene Gesellschaft,
55Schüttelte, wenig erbaute, Eine verdrossen das Haupt,
56Meisterin selbst und Witwe des eben verleumdeten Meisters.
57Neben sie trat und frug, Lobes gewürdig und stolz,
58Ob sie zufrieden sei, der dreiste Schwinger des Taktstocks.
59"Was mein Gemahl einst gewollt, haben Sie gänzlich verfehlt,"
60Sagte sie kurz. Doch siegesgewiss versetz er: "Das weiss ich;
61Aber Sie sehen, es macht so weit stärkern Effect."
62Andacht wollten der Lust am Wohlaut paaren die Meister—
63Schnöde verfälschen ihr Werk Buhler um Massenapplaus.
65* * *
67"Ivanhoe" is again postponed at the Royal Opera House on account of Sir Arthur Sullivan's special desire and present inability to attend the première.
69* * *
71Felix Weingartner was present in Prague last Sunday at the première of Reznicek's new opera, "Donna Diana," which met with a rousing success at the Bohemian capital.
73* * *
75Mrs. Emily Scharwenka, née Golisch, mother of those two excellent musicians, Philipp and Xaver Scharwenka, died here to-day, aged seventy-two. She was a most amiable as well as estimable old lady, who made very many good friends also in the United States during her sojourn of several years in our country. Requiescat in pace.
77* * *
79I believe I shall commit no special indiscretion if I quote the following from an interesting letter just received from an Elmira (N. Y.) friend of mine: "Siegfried Wagner writes to me that he had a fine time in London. Speaking of coming to America, he says: 'It is very possible that I come next winter, I got several invitations for coming spring to America, but I did not quite agree with the whole entertainment.'" To this my Elmira friend adds: "To understand just what he means by the latter sentence, you may translate it into German and then translate it back into English. I hope he will come. Seems to me he would make a hit here." Yes, "entertainment" is good, indeed very good and very entertaining, almost as entertaining as the reading of Mark Twain's translation back into English of the French translation of his "Jumping Frog of Calaveras."
81* * *
83The best joke I have heard for a long time is that which Henry Pierson the other night perpetrated in the lobby of the Royal Opera House, when, anent Albani's time worn vocal organ, he dryly remarked that it was "fin de siècle." It is indeed very much fin de son siècle.
85Another good one was told me on Heinrich Gruenfeld. He is a great humorist as well as a good 'cellist, and somewhat of a guy. Being a great favorite in society, and especially among Jewish society, the latter also very much patronize his concerts. The other day Gruenfeld tackled a gentleman of strongly marked Oriental features, to whom he had just been introduced, with the question: "Excuse me, sir; are you a Hebrew?" "I am," was the prompt Gruenfeld, in order to continue in the same way, then asked his new acquaintance: "Do you still stick to the old orthodox customs?" "Not all, but some of them." "Which, for instance?" "Well, I go to all the Gruenfeld concerts!" Tableau!
87* * *
89Siegfried Ochs, who is an autograph collector, and who has some beautiful and valuable samples, recently presented the manuscript of Beethoven's Choral fantasy to the Beethoven Haus, at Bonn.
91* * *
93Sterndale Bennett, the English composer, whom you may or may not know by the "Najad" overture, but who outside of this has a well earned place also in Grove's dictionary, is not quite as forgotten as you may imagine. As I learned from a program which young Mr. Alvin Kranich, of New York, brought to me yesterday, there is in actual existence at Leipsic a Sterndale Bennett Society. This society gives concerts, and here is what the London "Musical Standard" has to say about one of them of recent occurrence:
95The Sterndale Bennett Society gave their first orchestral concert, assisted by the band of the 107th Infantry Regiment (Music Director Walther) on November 27 in the Noth Hall. The orchestral pieces were Sterndale Bennett's overture to the "Najads" (op. 15), "Fairy Tale," No. 2, by Alvin Kranich (of New York), F. H. Cowen's gavot, "Jasmin," from the "Language of Flowers; Cowen's Scandinavian symphony (in C minor), the first movement of Alvin Kranich's E flat major, concerto for piano and orchestra and the second and first movements of Louis Spohr's violin concerto, No. 2. The orchestra was under the direction of Herr Ferdinand Schäfer, a former pupil of our Conservatorium, who conducted very satisfactorily in view of the fact that he is a beginner with the baton. The violin was played by Frauen Kaeathe Laux, of Leipsic, with a breadth of tone and musical feeling that thoroughly earned the applause given to her. Mr. Kranich, in addition to the movement from his piano concerto, played a prelude, a "Gnome Dance," "Album Leaf," and as encore a nocturne of his own composition. His works and his playing both give evidence of musical feeling. In contrast to warmth and power he shows in the suitable passages refinement and delicacy of touch combined with good technical finish. O. F. one of two readings
96The Sterndale Bennett Society gave their first orchestral concert, assisted by the band of the 107th Infantry Regiment (Music Director Walther) on November 27 in the Noth Hall. The orchestral pieces were Sterndale Bennett's overture to the "Naisds" (op. 15), "Fairy Tale," No. 2, by Alvin Kranich (of New York), F. H. Cowen's gavot, "Jasmin," from the "Language of Flowers; Cowen's Scandinavian symphony (in C minor), the first movement of Alvin Kranich's E flat major, concerto for piano and orchestra and the second and first movements of Louis Spohr's violin concerto, No. 2. The orchestra was under the direction of Herr Ferdinand Schäfer, a former pupil of our Conservatorium, who conducted very satisfactorily in view of the fact that he is a beginner with the baton. The violin was played by Frauen Kaeathe Laux, of Leipsic, with a breadth of tone and musical feeling that thoroughly earned the applause given to her. Mr. Kranich, in addition to the movement from his piano concerto, played a prelude, a "Gnome Dance," "Album Leaf," and as encore a nocturne of his own composition. His works and his playing both give evidence of musical feeling. In contrast to warmth and power he shows in the suitable passages refinement and delicacy of touch combined with good technical finish. O. F. one of two readings
98Milan.—Massenet's "Werther" was recently produced the first time at the Internationale, Milan. It was the fifty-third performance since the opening of the theatre, September 21.
100BRITISH BUDGET.
102BRITISH OFFICE OF THE MUSICAL COURIER,
10315 Argyl street, LONDON, W., December 19, 1894.
105"THE CHIEFTAIN" was produced at the Savoy under the baton of its composer, according to promise, last Wednesday evening before a brilliant and critical audience. It will be remembered that the first part of this opera was taken from "Contrabandista," written and composed by Mr. F. Burnand and Sir Arthur Sullivan in sixteen days for the German Reeds opera entertainments at St. George's Hall in December, 1867. This followed the very successful collaboration of these gentlemen in "Box and Cox," and at that time served as only a part of the program of the entertainment. Some eight numbers of the original work have been introduced into the first act of "The Chieftain" with very little change. The story as it appeared on Wednesday is briefly as follows: The brigands have lost their chieftain by desertion, and the rule is that the first stranger entering the camp after a year and a day shall be made chieftain, whether he wills it or no, and he must then promise to marry the chieftainess. "Peter Adolphus Grigg" (Walter Passmore), a comic tourist in an English plaid suit, armed with a camera, and a wifey left at home, is the character that fate decrees should take this important office. In spite of his protests he is forced into the chieftainship and a promise of marriage with "Inez" (Miss Rosina Brandram), the deserted chieftainess, who may or may not be a widow. Other prisoners are held by the banditti, many of whom are highly prized in expectation of large ransoms, including "Rita" (Miss Florence St. John), and they try to effect Mr. Grigg's release, which after a time is accomplished. Numerous complications arise in the second act when Mrs. Grigg comes out to meet her missing husband, but about this time the robber queen discovers her lawful spouse disguised as a courier. This, with a few minor details, is the story. Other principal characters are "Mrs. Dolly Grigg" (Miss Florence Perry), the missing "Chieftain" (Mr. Scott Fishe) and "Count Vasquez" (Mr. Courtice Pounds), who in disguise has wandered into the camp of the brigands. A detailed account of the music and libretto is not called for in this connection. The most striking number of the first act was a parody on a well-known motive from "The Hymn of Praise," which was so apparent that it was commented upon by all. The hit of the evening was a burlesque French ditty, acted and sung by Miss Florence St. John and Mr. Courtice Pounds. The humor provoked by the Anglo-French pronunciation gained a recall. The libretto is full of fun, and many puns were introduced, with such refinement, however, that they were heartily enjoyed. The music is sparkling with melody, and Sir Arthur Sullivan has followed on his old lines most successfully, and the libretto is admirably adapted to his music. At the close of the performance both composer and librettist were enthusiastically called before the curtain.
107Mrs. Henschel gave her third recital at the Salle Erard on Friday. She was in splendid voice and probably never sang better. At the close of an interesting program she was recalled and sang the duet from Boieldieu's "Les Voitures Versées" with Mr. Henschel. Madame Augarde, who was to have assisted her, was ill, and M. Sons took her place, playing among other things Brahms' "Hungarian Dances," transcribed by Joachim, with Mr. Henschel at the piano. Another encore Mrs. Henschel gave was one of the new Scotch songs composed by her husband.
109At Mr. Richard Gompertz's concert the most interesting number was the Smetana quartet in E minor, of which everybody in London is talking at present. It certainly is a magnificent piece of writing for strings, and while difficult is very effective. The last movement is hardly equal to the other three. This work was first published by an obscure house in Bohemia, and would probably have remained unknown to the world had not Peters found it out and given it publicity. It was extremely well played on this occasion, the part for viola being well brought out. Mr. Gompertz's solo, a "Barcarolle" recently composed by Mr. Emanuel Moor, proved a brilliant, well written piece for the violin, though it was somewhat vague in places and had no strong theme. It was well received. The other concerted number was Beethoven's posthumous quartet in A minor, which also was well played. Miss Marie Fillunger was the vocalist, and sang songs from Schubert and Schu-
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