Scan 24
Musical Courier 1895-03-20: Vol 30 Iss 784, 1895
104 lines. Read by computer on 22 September 2026. Printed page 25. See the scan on archive.org.
1Editors The Musical Courier: BERLIN, February 27, 1895.
3IN your issue of the 13th inst. I read, much to my surprise, the following editorial:
5César Thomson, the great violinist, tells THE MUSICAL COURIER that he believes the days of the virtuoso are about numbered, and that all the intelligence, energy and in fact genius of the modern composer is bent upon orchestral work or work in which the orchestra predominates or largely participates. Furthermore, as a representation of the evolution of taste, Mr. Thomson tells us that it is impossible for him to play Mendelssohn or Spohr in Germany, and that such works as Ernst's Otello Variations, or the F sharp minor concerto are now entirely eliminated from his programs in that country.
7Taken literally, there is nothing in this statement by Mr. Thomson that one could object to or doubt. It is, however, misleading in that it implies, as shown by the words, "as a representation of the evolution of taste," that other artists cannot play the works of these composers in Germany, that the public no longer cares to hear them. This is not true, and as your special correspondent on violin playing, I deem it my privilege and my duty to correct this impression. For five seasons I have followed the programs of great violinists in this country with a special view to acquiring a knowledge of the tendency of the times in this direction, and innumerable instances have come to my notice where the works of the above named composers have been repeatedly played by artists of the first rank in all of the principal German cities.
9But it is not necessary to quote from the programs of other cities. Berlin leads them all in point of violin playing, and I will simply mention the works of Spohr, Mendelssohn and Ernst that have been performed here since the present season began, which will suffice to prove that these composers can be and are played in Germany.
11Their compositions for violin have been played thus far in no less than seventeen important public concerts. Spohr's seventh, eighth, ninth and eleventh concertos, his four greatest works, have all been performed; of these the seventh and ninth twice each, and the adagio from the latter four times. The adagio from his double concerto was also played quite recently. The performers were in most cases great artists, and among them were Joachim, Burmester, Brodsky and Wietrowetz.
13The Mendelssohn concerto has already figured on five different programs, and will no doubt be played several times yet before the season closes.
15A concert season in Berlin without it is as unlikely as an opera season without a performance of Die Meistersinger, Carmen or Faust.
17The Ernst F sharp minor concerto would be no great loss to art if it should disappear from our concert programs. It has not been cast aside as yet, however. Burmester played it here at his second concert, and others have played it quite recently in various large cities. It is likely to remain popular with those who are fond of great technical difficulties. The same composer's Airs Hongroise Varies are still more popular and are played by nearly all the great violinists of the day.
19That the interest of modern composers is centred in orchestral work is very true; but they do not monopolize the concert programs in Germany. Nine-tenths of concert-goers in general are more interested in other forms of music, and as the reproductive artist is dependent for support, not upon the modern composer, but upon the general public, he is bound to respect its likes and dislikes.
21I cannot understand why Mr. Thomson should have said, in proof of his assertion, that the days of the virtuoso are numbered; that it is impossible for him to play Spohr—Spohr, of all composers, for the violin! I have spent eighteen months of hard study on this master's concertos and have failed to discover in them anything that could be styled virtuoso music, strictly speaking. Spohr, as every violinist knows, was primarily the musician, both as performer and composer. His works are models of the classic style, being entirely free from mere virtuoso effects.
23Paganini, quite in contrast to Spohr, was pre-eminently the virtuoso, both as performer and as composer. In his works we have the culminating point of virtuoso effects. Paganini was, in fact, the most glaring example of an absolute virtuoso the world has ever seen. And yet Mr. Thomson is credited with saying, by way of proof of his statement, that it is impossible for him to play Spohr, whereas it is a well-known fact that he plays Paganini! I am inclined to think there must have been some misunderstanding between Mr. Thomson and the person who took note of what he said.
25And as for the Mendelssohn concerto. Is this great classic, which has for half a century been such a favorite both with violinists and the public, to be consigned to oblivion because, forsooth, some dry, contrapuntal enthusiasts or pessimistical critics consider it antiquated virtuoso music? No, a thousand times, no! A model in form, with beautiful original themes, exquisite instrumentation and workmanship, piquant and yet ever legitimate, withal so admirably adapted to and so grateful for the violin, it is one of the few great compositions capable of affording delight at once to cultured musicians and to the masses. How refreshing to turn back to it after studying modern, labored and ungeigenmässig compositions! No, no, the Mendelssohn concerto will not be eliminated from concert programs so long as there are artists who can play it with musical intelligence, tenderness of accent and warmth. Technic alone will not do.
27Aside from the fact that Mendelssohn, Spohr and Ernst are still performed, there is ample proof that the days of the violin virtuoso are not numbered in this country—that, on the contrary, public interest in this, the noblest and most perfect of instruments, is on the increase.
29At the Symphony concerts of the Berlin Royal Orchestra, under Weingartner, which are incomparably the finest orchestral concerts in the world, no number on the programs of the seven concerts that have thus far taken place has called forth such spontaneous and genuine applause as the Beethoven violin concerto as played by Carl Halir. Manager Hermann Wolff secured for his series of Philharmonic concerts, under Richard Strauss, the most eminent soloists the musical world affords; here we have heard singing, piano playing and 'cello playing of the highest order. By far the greatest enthusiasm, however, was aroused by the violinists Sarasate and Burmester, each of whom received not less than eight recalls.
31Of that vast army of débutants which overruns the German capital every season no artist of late years, whether vocalist or instrumentalist, has scored such an instantaneous and pronounced success as Willy Burmester, who made his début at the Singakademie last November. His case was all the more rare because a financial as well as artistic success, and it has resulted in engagements in all of the principal cities of Germany. He is having a grand march of triumph.
33The boy phenomenon, Hubermann, also aroused great enthusiasm here. Why is it that the violinists have carried off the honors of the season? Is it because there has been a lack of singing or piano playing?
35Have we not heard Nordica, Lilli Lehmann, Mrs. Sucher, Joachim, Albani, Patti, Marchesi, Ben Davies and a host of others? In point of numbers the vocalists have easily led.
37And as for pianists, surely with d'Albert, Fanny Bloomfield, Stavenhagen, Pachmann, Hofmann, Scharwenka, Barth, Busoni, Robert Freund, Grünfeld, Ansorge, Hutcheson, Jedliska, Weiss, Dayas, Gernsheim and others, we have had an array of illustrious virtuosi such as would satisfy the most enthusiastic lovers of piano playing.
39And yet, to quote a recent statement of one of Berlin's most prominent critics in commenting on the present concert season, "Piano playing is stagnant, violin playing flourishes and mediocre singing rages."
41The fact is, the violin is a favorite instrument with the music loving public and is likely to remain so, all pessimistical assertions to the contrary notwithstanding.
43Concerning the future of violin playing and study in this country, it is a significant fact that the directors of Berlin's two leading schools of music, the Hochschule and the Stern Conservatory, are both violinists of the first rank; furthermore, the two leading teachers, aside from the directors, are violin virtuosi of European reputation. It goes without saying that these four renowned artists, Joachim, Halir, Holländer and Zajic, have a marked influence on the violin departments of these great institutions.
45Nothing would be easier than to write a number of pages on this subject, appealing to facts in every paragraph, but I think I have written enough to prove that the statement quoted above grossly misrepresents the present status and future prospects of violin playing in this country.
47ARTHUR M. ABELL.
49Melody and Milk.—A New York World correspondent gives the assurance that in Switzerland a milk maid or man gets better wages if gifted with a good voice, because it has been discovered that a cow will yield one-fifth more milk if soothed during the process of milking by a pleasing melody.
51THE second of Mr. Plunket Greene's afternoon song recitals was given on Tuesday, the 12th, in Chamber Music Hall, with the assistance of Mme. Marie Brema from the German opera and Mr. Walter Damrosch, who consented to play the accompaniments. Standing room only was the early announcement for this recital, and was liberally paid for, ladies supporting themselves against each other's elbows through ninety minutes of song rather than miss a note of this performance. Wherefore this exceptional gathering results did not explain; Plunket Greene, for true lovers of song, has often been more interesting unaided. Mme. Brema's really large and eloquent methods become aggressive in a small auditorium like Chamber Music Hall; that is, when she steps fresh from the vast echoes of the Metropolitan without feeling it necessary to take time or pains to adapt herself to a narrow framework. But the name of a star and the hint of operatic association work like one of Wagner's own spells, hence the swollen audience. The fact that anyone hearing Mme. Brema for the first time in this environment might make up his mind that the artist's organ was unwieldy and rebellious rather than mellow and dramatic, militated nothing against the general interest. She was from the opera, and that sufficed. Mme. Brema attacked her songs with obvious feeling and fervor, but the volume was too much. Plunket Greene is practiced to regulating his tone to concert room requirements, large or small, and sang delightfully and with absolute satisfaction, as usual. There was a good deal of enthusiasm over the duets, in which Miss Brema really shone best. The accompaniments of Mr. Damrosch had their accustomed refinement and finish.
53Subjoined is the program:
55Parte il Piè. …………………………………………..Old Italian
56Occhi Beli. ……………………………………………..Hubert Parry
57To Lucasta on Going to the Wars. ………………..Hubert Parry
58Through the Ivory Gate. …………………………….Hubert Parry
59Of all the Torments. ………………………………….Hubert Parry
60The Sands of Dee. …………………………………..Frederick Clay
61To Anthea. …………………………………………….Hatton
62Mr. Plunket Greene.
64Se Bel Rio. …………………………………………….Rontani
65Già il Sole dal Gange. ……………………………….Scarlatti
66Träume. ……………………………………………….Wagner
67Schmerzen. ……………………………………………Schubert
68Erlkönig. ………………………………………………Schubert
69Ai-je Fait un Reve? ………………………………….Goring Thomas
70A Summer Night. …………………………………….Goring Thomas
71The Throstle. …………………………………………Maude Valerie White
72Miss Marie Brema.
74Four duets—
75Ich bin dein Baum, O Gärtner …………………….Schum ann
76Wanderer's Nachtlied ……………………………….Rubinstein
77Es Rauscht das Wasser ……………………………..Brahms
78Night Hymn at Sea …………………………………..Goring Thomas
79Miss Marie Brema and Mr. Plunket Greene.
80(Kindly accompanied by Mr. Walter Damrosch.)
82On Tuesday afternoon the 12th, also, Mr. Wm. H. Barber gave the second of four piano recitals at the residence of Mrs. Muhlenberg Bailey, 77 Madison avenue. He played Beethoven's sonata, op. 90, and other composers were Chopin, Liszt, Moszkowski, Scholtz, Schütt, Grieg and Stavenhagen. Of course the Liszt Rhapsodie was not absent; it was No. 8 this time, and Stavenhagen was represented by his No. 2 Pastoral, op. 2.
84Anton Hegner gave the first of his series of March matinées at the Hotel Waldorf on Wednesday afternoon, the 13th, assisted by Emil Fischer. It was a good concert, although the 'cello instrument and a bass voice unrelieved made a rather sombre tone picture. Mr. Herman Wetzler did exceedingly good duty at the piano. Here is the program:
86Concerto for violoncello, op. 11. …………………….G. Goltermann
87Der Wanderer. ………………………………………Schubert
88Mr. Emil Fischer.
89Polonaise de Concert ………………………………..David Popper
90Elegie. ……………………………………………….Anton Hegner
91Tarantelle. ……………………………………………David Popper
92Solo for 'Cello.
93Entsagung. …………………………………………..Graben
94Schoenste Engel. ……………………………………Hoffmann
95Mr. Emil Fischer.
96Romance. ……………………………………………Anton Hegner
97Gavot. ……………………………………………….Fr. Schubert
98The Bee. …………………………………………….Fr. Schubert
99Solo for 'Cello.
100Die Stille Wasserrose ……………………………….Fr. Kücken
101For Song, with 'Cello Obligato.
103Mr. Hegner's nimble technic and smooth, medium strength tone were at good advantage in the Goltermann concerto. He certainly played the Cantilena firmly and musically. The Finale had a light brilliancy. He was at his best in the Popper Polonaise, into which he infused
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