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Musical Courier 1895-06-05: Vol 30 Iss 796, 1895
89 lines. Read by computer on 23 September 2026. Printed page 11. See the scan on archive.org.
1it. The score of Don Giovanni has exercised the influence of a revelation upon the whole of my life; it has been and remains for me a kind of incarnation of dramatic and musical infallibility. I regard it as a work without blemish, of uninterrupted perfection, and this commentary is but the humble testimony of my veneration and gratitude for the genius to whom I owe the purest and most permanent joys of my life as a musician. There are in history certain men who seem destined to mark in their own sphere a pinnacle beyond which it is impossible to advance. Such was Phidias in the art of sculpture, and Molière in that of comedy. Mozart is one of these men; Don Giovanni is such a pinnacle."
3After speaking of the use he hoped this commentary would be to young composers, interpreters, and those interested in music, he says:
5"I have thought that in the presence of beauties so profound and delicate, distributed with such profusion in this imperishable masterpiece, it would not be useless to make known and to record the impressions and emotions of a musician who has loved it unswervingly and admired it unreservedly. Intuition, the spontaneous penetrating insight of genius, is nothing but an unconscious philosophy; it is reason perceived by feeling, which is, in man, the first phase of creative power. Hence the infallibility of genius; it sees, we reason. I shall endeavor to point out what Mozart has seen."
7This most interesting work, doubly interesting on account of its author, comes out at a moment when we shall have the pleasure of hearing Don Giovanni at Covent Garden, and when it is fresh in the minds of my American readers, and we strongly recommend all interested in music to read the book.—FRANK V. ATWATER.
9Opera at Covent Garden.
11The present season of Grand Opera at Covent Garden that opened on Monday promises to be the most brilliant that has ever taken place in that historical opera house. Sir Augustus Harris has secured nearly all the leading artists of the world to interpret the operas which he intends giving, including selections from nearly all schools. The best indication of the indorsement of his scheme is that the public have already subscribed much in excess of any previous season. It is usually a difficult task for the management to put before their patrons on the opening night, even though the London season has begun, a sufficiently interesting cast to attract in large numbers the people who go because it is fashionable, and who, it is alas too true, form the support of Covent Garden each year. But this season no less a star than Tamagno was put forward to tickle the receipts at the box office, and that it succeeded was testified by the fact that the house was sold out.
13A more tremendous and ferocious impersonation of Othello does not recur to our memories. We had a distinct feeling of terror of the great raging Moor. Yet his force was not all expended in his moments of blind anger, during which he made the immense concourse literally start at some of his impetuous attacks. We were pleased to see that he exercised much artistic restraint, and his work throughout the evening calls for high commendation. He had a wealth of deep emotion for his farewell to the ill-fated Desdemona, who, in dying, gave forth some sounds like the tile stalking midnight vagrant, though they may be scientifically founded on hospital experience among the strangled. Aside from this Mme. Albani aroused the old-time enthusiasm and won many encomiums both for her singing and acting. It was regrettable that the tragic completeness of Tamagno's impersonation should have been marred by his premature revival, for in his dying spasms he rolled over and over till near the footlights, and the curtain descending, left him in front of it, a sheepishly smiling and awkwardly resuscitated corpse. He was repeatedly recalled by the enthusiastic audience. The Iago of M. Pissina, which we expected to be at least subtle and dominant, was disappointing; owing more to a round and immobile face and too generous a figure than to his artistic intention, he failed to impart due diabolical suggestiveness to the character, and at the conclusion of the third act his Ecco il Leone seemed imbued with a wholesome fear of the Moor. The minor parts were ably sustained by Mlle.
15Olitzka, Messrs. Pelagalli-Rosetti, Percy Mordy and Richard Green. Signor Arimondi made a dignified Hodovico, and his deep bass voice should earn for him more important rôles.
17Boito, who held the stage on Tuesday for his Mefistofele, is a tantalizing gentleman, because it is astonishing that one who has an evident aptitude for libretto writing should sit down and proclaim to the world his inability to write a more interesting work that this uninteresting version of the Faust legend. The evening was marked by the return after a long absence of Miss Margaret Macintyre, whose voice as Marguerite showed the absolute benefit of her recent rest. In the prison scene she attained some exceptionally fine moments, and generally her performance was excellent. Plançon has so identified himself with the Gounod fiend that he seemed ill at ease as the Boito edition of the gentleman whose residence is reputed to be paved with good intentions; but he is always the true artist, and sang the music as few could have done.
19Every great tenor wants to play at least to one Prophète. Every impresario wishes to play to many profits. For the first reason only, I should think, was Meyerbeer's work put up on Wednesday. It cannot be spoken of as an opera. When you come to think that the mise en-scène of this work is almost as large as a small pantomime, one wonders at the fact, not that it should be done at all, but that it should be done at such a high pressure of excellence and detail. Tamagno again in fine voice and showing his wonderful power and strength by taking an encore for the victory song. After this the Prince of Wales was so pleased that he insisted on sending for the harmonious blacksmith—for that was Tamagno's early profession—and congratulating him on the part. Madame Lejeune, a newcomer from Brussels, as Berta showed real dramatic power and a small, if pure, soprano voice. In other words, she may show to greater advantage.
21Pagliacci was chosen on Thursday evening as the first item of the program at Covent Garden. The cast was similar to last season, Signor De Lucia again being an energetic representative of the husband Canio, and Signor Ancona repeating his fine impersonation of the revengeful Tonio. The part of Nedda fell to Mme. Fanny Moody, who gave an altogether good impersonation of the character. The orchestra, under Signor Spelli, a very uneven conductor, was rather rough. Gounod's Philémon, which followed, reintroduced Mme. Marie Engle, who sang at Covent Garden eight years ago, but who since her marriage has resided principally in the United States. Her voice is of that light and agreeable quality which formerly made her so popular here, and again won much admiration in the character of Baucis. Her next appearance in Fra Diavolo, on Monday, will be looked forward to with interest. Mr. Bonnard again played Philémon, M." Plançon was once more a dignified exponent of Jupiter, and Signor Bevignani conducted.
23Last night Lohengrin was given at the opera with Madame Albani as Elsa. To-night Miss Macintyre sings in II Trovatore. Monday, Fra Diavolo will be given; Otello on Tuesday; Falstaff, Wednesday; II Trovatore repeated on Thursday; Tannhäuser on Friday and Faust on Saturday.
25Geo. H. Fairclough.
27SELDOM do we see musicians returning from study abroad who are so well fitted to take a high position as Mr. Geo. H. Fairclough. He comes of a very musical family, and his brother, Mr. W. E. Fairclough, is one of the leading organists in Toronto. From a very early age he was a choir boy in the cathedral at Hamilton, and when twelve years old commenced to play the organ. He soon won recognition for his work, and at an early age was appointed organist and choirmaster of an important church in that city. Leaving Hamilton, he was for four years organist and choirmaster of All Saints' Church of Toronto, where he was a pupil of the Conservatory of Music, and undergraduate in arts of Toronto University. This he relinquished to accept the position of musical director of Brantford Ladies' College, which he held until he came abroad to continue his musical education.
29One particular qualification that stood him in good stead during his stay abroad has been his wide experience both as pianist and teacher, as well as organist at home. This enabled him to make the most of his opportunities, and understand and appreciate the lessons from the able professors with whom he enjoyed two and a half years' tuition. His work as an organist was very highly spoken of in the press of Canada, and evidence of his sterling worth is found in the indorsement given him by the principal of Brantford Ladies' College, saying that he had raised the standard of their musical education to a marked degree. His competence as a pianist was testified to by Mr. Barrington Foote, the well-known baritone, who said he was one of the best accompanists that had ever played for him.
31That Mr. Fairclough is a musician as well as an earnest student is evinced by the melody of his compositions. The first of these of any note, entitled Night Song, written when he was fourteen years of age, has reached considerable popularity. While abroad he composed two songs in the style of the German Lieder, With All My Heart and To Possess Thee. These, published by an eminent German house, will undoubtedly become popular in Canada and the United States.
33In Berlin he studied at the Hochschule during his two and a half years' residence with Professor von Petersen for the piano, Professor Reinhold Succo for counterpoint and fugue and Professor Waldemar Bargiel for score reading. During this time he also took private lessons from Mr. Clemens, who has been organist to the English Church, Berlin, for seven or eight years, and who, seeing the lack of facility for English and American students to study that instrument, purchased a fine English organ. He has a studio where he makes the principle of teaching it on the American system, as it is a well-known fact that the German system is not in vogue among English and American students. The best proof of Mr. Fairclough's accomplishments is in the testimonials given him by his professors, which we take pleasure in quoting.
35BERLIN, 11, 4, '88.
37Mr. G. H. Fairclough has studied with the greatest success under my direction. We have made a thorough study together of most of the suites of Bach, sonatas of Beethoven and various compositions of Mendelssohn, Schumann, Schubert, Chopin, Liszt and other composers.
39Especially can I recommend Mr. Fairclough for the teaching of the higher art of piano playing, and he will also be successful as a concert player. His earnest and studious character, together with his naturally refined musical taste, will make him a teacher of high worth. (Signed) G. VON PETERSEN, Royal Bavarian and Prussian professor of music. Professor of piano at the Royal High School of Music, Berlin, Germany.
41NOLLENDORF STR. 17, II., Berlin.
43I have much pleasure in recording that Mr. Geo. H. Fairclough has studied the organ under my direction for the last two and one half years.
45Mr. Fairclough has acquired much useful experience as an organist prior to his arrival in Berlin, and this, coupled with his excellent musicianship and his enthusiastic work during his residence here, has given him an exceptional mastery over the technic of the organ and its literature, and in the heartiest manner I certify to his excellence as a solo organist, an accompanist to the church services or as a teacher.
47Mr. Fairclough has on several occasions officiated for me as organist of the English Church, Berlin, in a most skillful and acceptable manner, and has further been a most useful member of my choir during his residence here.
49Mr. Fairclough bears the highest character, and I have every possible confidence in him, and trustfully predict for him an important musical future.
51CHARLES E. CLEMENS, Professor of Organ and Theory, Kindworth-Scharwenka Conservatorium, and Organist and Director of the Choir of the English Church, Berlin.
53Recently Mr. Fairclough gave an organ recital in Berlin which received the following notice from a well-known Berlin critic:
55The organist G. H. Fairclough, from Hamilton, Canada, gave on Wednesday afternoon a very successful organ recital in the English Church of St. George, Monbijou Garden, Berlin. The interesting program included works of Händel (Concerto in B flat), Schumann
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