Scan 5
Musical Courier 1895-05-15: Vol 30 Iss 793, 1895
110 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1occasion in the difficult scene where the prince of hell ascends into the air with his willing follower, were precipitated down from some altitude by a break in the stage machinery. Of course the theatre was cleared immediately, but happily it turned out to be less of a serious accident than it had appeared to the horrified spectators. Brock has only a few broken ribs to remind him of the Brocken, and Weiser (stage manager and Mephisto) is not a sadder, but a wiser man now. He was able to appear the next evening (Sunday) and with a new Faust, Herr Wegner, the festival performance was resumed at the point where so suddenly it was "dropped" the previous night.
3Lassen's incidental music to Faust is the greatest and best thing he has written, but he will live also in many of his numerous beautiful Lieder. For his jubilee and subsequent retirement he was nominated by the Grand Duke of Saxe-Weimar General Musikdirector, and by the Emperor of Germany, who happened to be present at the Friday rehearsal, he was decorated with the gold medal for art and science. Official congratulations, presents, flowers and telegrams poured in upon Dr. Lassen, and to-night a grand festival banquet will be given in his honor.
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7Apropos of Weimar. I learn that Bernhard Stavenhagen the pianist had previous to his leaving the United States sent to the Grand Ducal intendency his offer to officiate as second Kapellmeister free of charge. I know that Stavenhagen has been coveting the position of Weimar court conductor for many years. When Dr. Lassen retired and Richard Strauss went to Munich the time for the fulfilment of his hopes and ambitions seemed to be near at hand. But lo and behold, while Stavenhagen is absent on his tournée in the United States, Eugen d'Albert slips into the place, and now Stavenhagen will have to play second fiddle to the little giant. Knowing the latter's proclivities for vacillating, Stavenhagen seems to be willing to do this, for a time at least, and even went so far as to offer his gratuitous services, probably in the anticipation that when d'Albert gives up, which he is sure to do, sooner or later (in all likelihood sooner), that then Stavenhagen will move into first place. This is news.
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11Also is it news that Mme. Bertha Pierson, our Berlin Royal Opera House prima donna, will retire from her present position at the expiration of her contract, which runs until 1896. Since Henry Pierson has been nominated director of the Intendency and acting Vice-Intendant whenever Count Hochberg should be prevented from exercising his functions, he thought that it would be in good taste that his wife should no longer occupy the important position of first dramatic soprano. This shows great taste and nice sense of the fitness of things on the part of the new director. Berlin will be apprised in a few days of the conclusion to which Mr. Pierson had come when he accepted the new position and of which conclusion he had given then and there official notice.
13The Royal Opera House personnel will lose one of its most useful members and one most difficult to replace, as Mrs. Pierson has the most varied rôles at her fingers' ends, and has been heard here as Donna Anna, as well as the Countess in Nozze di Figaro and as Senta, as well as Resia or Santuzza. In some of the modern dramatic parts, such as Santuzza, Mara and Hexe (which two latter parts she created), Mrs. Pierson is incomparable and her equal will be hard if not impossible to find. In her stead Miss Termina, from Munich, and Miss Reindl, from Berlin, will appear here at the expiration of Mrs. Pierson's contract.
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17The dates for the ten performances of Rubinstein's Christus at Bremen, of which I wrote in my last week's budget, have been fixed for May 25, 27, 28, 30 and 31 and June 3, 4, 6, 8 and 9. I shall try to attend the première. one of two readings
18The dates for the ten performances of Rubinstein's Christus at Bremen, of which I wrote in my last week's budget, have been fixed for May 25, 23, 28, 30 and 31 and June 3, 4, 6, 8 and 9. I shall try to attend the première. one of two readings
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22The Stern Conservatory has taken up into its regular course of instruction the study of the Jankó keyboard. Prof. Richard Hansman, whom you may remember as having been the exponent of the system in New York a few years ago, has been engaged as teacher of this specialty by Professor Gustav Hollaender, the new director of the Stern Conservatory.
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26Our old friend, the handsome baritone Theodore Reichmann, has been engaged by the Berlin Royal Opera House intendency for some appearances "as guest." He will be heard here about the middle of May in some of his most important rôles, such as Flying Dutchman and William Tell.
28Marcella Sembrich will sing "as guest" in Traviata next week, and Kienzl's Evangelimann is promised for first production by the end of next week.
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32Quite a number of visitors crowded in upon me these late days. The most important to you and me was my old friend Henry Wolfsohn, the New York manager and impresario. He is a hustler, Mr. Wolfsohn is, and to see him scurry around Berlin, making things lively at the Kaiserhof, jumping in and out at the Opera House, listening to artists of all kinds and denominations, telephoning, telegraphing and cabling in true American style did my heart good. So far Mr. Wolfsohn has made an offer to Lilli Lehmann for a spring tournée in 1896, which in all probability will be accepted. Then he has seen Weingartner and arranged with him to take him on a concert conducting spring tournée through the United States as soon as our great Kapellmeister will find time and leave of absence to go over to America, which I think, however, will not be for several springs to come. Next Wolfsohn arranged for Adele Aus der Ohe's Berlin appearance for early next fall, and for Lillian Blauvelt's Berlin season of 1896-7. Other important arrangements and engagements are still pending, and I must not talk about them until they are concluded. I promise, however, to let you know more anon.
34Then there was Mr. Edward Liebmann, the London manager, who was here to engage Conrad Ansorge, the pianist, for a spring tournée in England, where he is to play the Brinsmead piano. I saw both gentlemen, but at present writing the bargain has not yet been concluded.
36Next Busoni and his wife called to take leave. They go to Finland for the summer, but will return here next fall.
38Furthermore, Fritz Spahr, the Leipzic violinist, called, who leaves to-day for the United States on the Hamburg steamer, and also intends to return to Europe in the fall. one of two readings
39Furthermore, Fritz Spahr, the Leipsc violinist, called, who leaves to-day for the United States on the Hamburg steamer, and also intends to return to Europe in the fall. one of two readings
41Kienzl, the Austrian, and Howard Brockway and James K. Pleasants, the American composers, called. So did Prof. Julius Hey, the vocal teacher, who wants me to listen to one of his American young lady pupils, about whom I shall have something to say next week, and so on and so on.
43O. F.
45Xaver Scharwenka.
47THIS justly renowned pianist and composer is in the West at present on his annual tour. On the occasion recently of his first appearance in Memphis, Tenn., the press was unanimous and unstinted in its praise. The following are a few quotations:
49Despite the rain, there was a representative musical audience at the Lyceum last night to greet Scharwenka, the great Polish pianist. His rendition of Appassionata was superb. Never before in this city has such an interpretation of this stupendous work been heard. All the majesty and soul of the immortal composer flowed out and filled even the most unmusical heart in the attentive audience.—Commercial-Appeal.
51The concert was a grand lesson in vocal and instrumental music. The piano is sometimes abused, because those who hear the sounds coming therefrom often hear the work of those who do not understand the instrument. Under the wonderful power of Xaver Scharwenka one appreciates the possibilities of the instrument. His playing is little short of marvelous. His method is simple. He is beyond doubt the greatest master of the piano that has ever appeared in Memphis. At the same time there is a matter of fact yet cordial demeanor possessed by him that makes him altogether an ideal entertainer.—Memphis Scimitar.
53Scharwenka, the famous pianist, displayed his remarkable talent to decided advantage. The musician was in thorough harmony with his instrument, and his splendid power of interpreting the beauties of music made itself apparent to every one of the musical and cultured audience. His touch is both strong and delicate, and his phrasing brings forth a sweet and exquisite charm that wins his hearers.—Memphis Times.
55A reception was tendered Herr Scharwenka by the Beethoven Club in the club rooms Friday afternoon. The great artist played a classical program before a large crowd of the club members. Such masterly playing has never been heard by them before. As a pianist and composer he stands second to none. His beautiful legato, soulful interpretation and climax powers form a combination found in none but a genius. He responded to repeated encores and left his audience worked up to a pitch of enthusiasm seldom experienced.
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59Thursday morning the Nineteenth Century Glee Club was honored by a visit from the renowned pianist, composer and conductor, Xaver Scharwenka. He was welcomed by a selection from his grand opera, Mataswintha, sung by the Glee Club, and to the delight of all Herr Scharwenka played, first the overture and then the accompaniments to the solo and chorus. After a few words of thanks for the compliment paid him by the Glee Club he sat down to the piano and played several selections as only he can play.—Commercial-Appeal.
61Calvé.—Madame Calvé has now returned from her Russian engagement, which has been very successful. She is busy rehearsing at the Paris Opéra Comique Vidal's Guernica, but the work will probably not be given until early next month. Madame Calvé made her rentrée on Monday, and will remain in Paris until her London engagement begins—that is to say, if she goes to London at all.
63The Dead of Kensal Green.—Mr. F. G. Edwards has now completed in the Musical Herald the full list of the eminent persons buried at Kensal Green Cemetery, London, of which also he furnishes a plan. The list of graves includes those of Mme. Vestris, Tietjens, John Braham, Balfe, Wallace, Sir Julius Benedict, Sir Michael Costa, Sir George Smart, Sir John Foss, Samuel Lover, Hatton, Hullah, Horsley, C. E. Stephens and numerous others.
65Yaw's Triumph.
67Cleveland's Big Music Hall Crowded to Greet the Artist.
69AFTER the great triumph Miss Yaw achieved at the recent Toronto concert, where the receipts amounted to $2,000, the following telegram which came to this office from Cleveland, Ohio, will go far to strengthen her reputation as an artist and a drawing card:
71Nearly 4,000 people filled Music Hall here at prices $1, $1.50 and $2. Yaw carried Cleveland by storm.
73From every city where Miss Yaw has appeared the notices and criticisms confirm the claim we made for the young artist that she is a phenomenal singer, as much by a fine method of delivery, a wide and almost incredible range of voice, from G below the staff to E in alt, and, what captures her audiences as much as her other accomplishments, a singularly clear, even and sympathetic voice. As in the case of Patti, who could never boast of a range as remarkable, Miss Yaw's physique is already an attraction in itself. Her lithe form, clear cut features, honest eyes and beautiful waving blond hair are accessories to a voice which, in spite of unsupported claims of novices, is from all authenticated accounts unrivalled at the present day.
75Art, unfortunately, in order to be successful, must be closely allied to the money question, and it may be safely said that Miss Yaw among the present singers carries also the palm in this respect; for her services as a speculation to local managers proved to them a source of wealth. For the concert on Monday night in Kansas City, where she has appeared on several previous occasions this winter, she received the munificent sum of $1,000 and an enthusiastic greeting.
77Ross Jungnickel.
79WITH this issue of The Musical Courier we have the extreme pleasure of introducing Mr. Ross Jungnickel, a new orchestral conductor who has recently made his home in New York, and who from present indications promises to become in a short time a great factor in musical circles. Mr. Jungnickel is a young man of thirty-three, full of energy, talent and perseverance, coupled with rare business tact and ability—qualifications seldom found concentrated in any one artist. Mr. Jungnickel, furthermore, is one of the new school of American born and American bred artists who firmly believe that we have just as fine material in this country as can be found abroad, if only given the opportunity. Now, Mr. Jungnickel has not been given an opportunity, but has with true American spirit created for himself an opportunity to prove his worth as an artist and conductor of signal ability.
81In a city like New York mediocrity has very little chance, and realizing that there only can be room at the top of the ladder Mr. Jungnickel has set about to organize one of the most superb orchestras ever presented here, consisting solely of the first musicians in the city.
83In this endeavor he has been successful beyond expectation in bringing about a consolidation of all the most prominent artists and orchestral musicians to be found in New York, who have heretofore been scattered in the different orchestras. This new organization has been appropriately named the National Symphony Orchestra, and consists of seventy performers. Mr. Jungnickel and his new orchestra will be heard for the first time at a series of promenade concerts at the Madison Square Garden Amphitheatre, commencing Tuesday, May 21, and to continue nightly, with a Sunday afternoon matinée.
85The programs in contemplation are perfect types of the higher class of popular music. They comprise, besides a large number of interesting novelties, the most charming orchestral compositions.
87Judging by the interest already manifested in musical circles, these concerts promise to be a great success in every way for Mr. Jungnickel and the National Symphony Orchestra.
89The following is the program for the opening concert:
91Grand march, Queen of Sheba………………………………………Goldmark
92Overture, Festival………………………………………………………..Lassen
93Norse, Folksongs and Dances………………………………………Soedermann
94Symphonic Poem, Les Preludes………………………………………Liszt
95INTERMISSION.
96Overture, Tannhäuser…………………………………………………Wagner
97Prayer and Angel Pantomime from Hänsel and Gretel..Humperdinck
98First time.
99Intermezzo, Forget-me-not…………………………………………..Macbeth
100String Orchestra.
101First time.
102First Rhapsody………………………………………………………..Hallen
103Suite, Fairy Scenes…………………………………………………….Massenet
104INTERMISSION.
105Rhapsody, Espana…………………………………………………….Chabrier
106Waltz, Morning Journal……………………………………………..Strauss
107Norwegian Artists' Carnival………………………………………….Svendsen
109Efforts have been expended to fill the amphitheatre to overcrowding the opening night, and by the way orders are coming in for boxes and seats this is likely to be done.
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