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Musical Courier 1895-12-11: Vol 31 Iss 823, 1895
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1Music in St. Louis.
2ST. LOUIS, December 7, 1896.
4MUSIC has made wonderful strides within the last decade in this city, while twenty years ago it was hardly possible to keep an oratorio society and pay for the use of the rehearsal room, and pioneers in that field, like myself, worked without fee or reward. There are now nearly a dozen societies, I believe, which do excellent work to disseminate music as an art.
6The Apollo Club is a society that cultivates choruses for male voices, numbering about eighty active members. It was organized last year, and so great was its success that the subscription list was raised to $10, for which three concerts are given, entitling each subscriber to two tickets. No tickets are sold at the doors. The honorary membership amounts to over four hundred. The object is not only to cultivate male choruses but also to bring first-class artists to the city; so we had an opportunity of hearing the Bohemian violinist Franz Ondricek and Madame Clementine de Vere-Sapio.
8As regards Ondricek, he carried the audience by storm, playing Ernst's Hungarian Airs, an Elegie by Lamb and Rondo des Lutins, by Bazzini; his bowing received as much recognition from connoisseurs as did the warmth and fine delivery from the general audience, whose applause was awarded with a most exquisite and poetic interpretation of one of Schumann's songs. The only regret our professional violinists expressed was that he did not play a concerto by Brahms, Goldmark or some other great violin solo, as those he played had been heard here often. Mme. de Vere-Sapio was in excellent voice, and sang Meyerbeer's Shadow Dance, Weber's Bells in the Valley, and Spring, by Sapio, in an artistic manner, especially the first aria. The lady has established herself as a favorite here and it is to be hoped will be heard again ere long.
10The choruses were all of a high order, sung with exquisite and distinct enunciation, the credit of which belongs to Mr. A. G. Robyn, the conductor of the society. In response to the clamorous demands for an encore when Nevin's The King and the Singer had been sung, the chorus gave Robyn's humorous song, If You Want a Kiss—Why Take It, which was followed by the greatest hilarity and applause ever heard in St. Louis, as the same composition had created quite a sensation ten days before, when it was sung by the Glee Club of the Washington University, as the mamma of one of the students had written to the chancellor objecting to any such "teaching the young ideas how to shoot."
12The St. Louis Musical Club, a ladies' organization numbering over 300 members, gave its third concert November 30, before an audience which filled Memorial Hall. Mrs. Stevenson, president of the society, delivered ex cathedra a lucid and pithy address on the merits and distinctive features of Mendelssohn and Rubinstein, whose works had been chosen "in memoriam" for this concert, both masters having died in the month of November. The first part of the concert was devoted to the former, who died November 4, 1847. The first movement of this string octet, op. 20, arranged as a piano quartet, was played by Mrs. Stevenson and the Misses Krause, Nohl and Kniffin; also the Rondo Capriccioso by Miss E. Heynen. Mrs. Ernst and Olga Lawitzky were heard in two duets. Mrs. A. D. Cunningham, our foremost soprano, who has commanded and received $1,200 a year as a church singer, contributed three solos. I cannot speak in too high terms of Miss Helen Thorrell, who played two movements of the E minor concerto for violin; her bowing was as perfect as her technic was faultless; she was twice recalled. The Rubinstein selections presented greater novelties; the Hungarian Fantasia for two pianos was played con amore and by heart by the Misses C. Nohl and M. Kniffin.
14The finale of the E minor concerto was executed in a masterly manner by Miss Selma Krause, a prominent teacher. The orchestral accompaniment on a second piano by Mr. B. Maginn deserves honorable mention. Three vocal selections by Mrs. Alfred Ernst were sung with good taste, receiving loud applause; Mrs. K. G. Broaddus, who enjoys an enviable reputation as a voice teacher, was heard in two duets with Mrs. M. E. Latey. The concert concluded with the first movement of the trio in B flat major for piano (Mrs. Stevenson), violin (Miss Thorrell) and 'cello (Mr. L. Meyer); the ensemble was excellent, the young violinist distinguishing herself by her execution and the fullness of her tone. A commendable feature of the concert was the fact that no encores were insisted upon, although each participant had a host of friends present. I think all societies, especially amateurs, should have a by-law which forbids encores, and have it printed on the program, so that no jealousy can ever spring up which would surely kill the society.
16Thanks to the enterprise of another ladies' society, the Tuesday Musicale, we had the opportunity of enjoying three lectures by Mr. W. Damrosch upon the subjects of the Walküre, Siegfried and Meistersinger.
18Memorial Hall was completely filled on these occasions, and it was a delightful treat to listen to his expositions of the plots, interspersed with musical illustrations. What a difference there is between Mr. Damrosch the musical director and Mr. Damrosch the lecturer! While the former is all bustle and excitement the latter is the picture of calmness, speaking in tones so subdued that it would require but a white necktie in order to pose him for a "reverend" missionary, expounding the gospel of a new musical creed. I believe Mr. Damrosch is the first opera director who has entered the lecture field and helped to initiate us more into the hidden beauties of Wagner's works. Permit me to indulge in a little digression here.
20Some time ago I listened to a well-known pianist's lecture on Parsifal, which, musically speaking, was a disappointment to all, as the greater part of the lecture was taken up with a description of his journey across the ocean, arrival in Europe, his pilgrimage to Bayreuth, &c., followed by the playing of an interlude to one of the acts, and then a poor display of stereopticon views of some of the scenes incidental to the plot, which were briefly given. I make this remark advisedly, because I have a high regard for the gentleman as a pianist, but musical people want to know more of the music of a work which is to most a sealed book up to the present.
22There is something unique in Mr. Damrosch's delivery, which keeps him in sympathy with his audience, especially when he passes off a little joke; thus, referring to the awakening of Brunhilde by Siegfried, he stated "it was done in a way most approved of by ladies;" then he stopped a moment, staring at some vacant spot in the distance without moving a muscle, while his audience (ladies) roared with laughter till the house rang.
24Another sign of the musical times in this city are the Sunday afternoon concerts at the Exposition Hall, at which the Choral Symphony Orchestra, numbering fifty performers, under Mr. Ernst and other soloists, can be heard for twenty-five cents. At the back of these popular concerts stand a number of prominent gentlemen and two music houses, the Bollman Brothers and Messrs. Thiebes and Stierlin, who have guaranteed the expenses. The attendance has not been very large, not on account of want of appreciation, but owing to the severe storms and rains which have visited us regularly every Sunday lately.
26The Melba Concert Company had a great financial success here; the box receipts amounted to $8,025.
28And now to conclude my epistle. I refer with pleasure to the magnificent Wagner opera performances which were given here this week under Mr. Walter Damrosch's direction. Financially they were a disappointment, but musically speaking they were a great treat and success. The attendance would have been much larger if the general admission price had been within the reach of the multitude of the real music lovers; but $1.50 for standing room, which was charged for general admission, is a little too high for many.
30Lohengrin, Die Walküre, Siegfried, Götterdämmerung, Die Meistersinger and Tannhäuser were given; the first and last two drew the largest houses. The applause which greeted the artists and the almost numberless curtain calls were sufficient evidence of the thorough appreciation of the audience. The choruses, although the male element seemed at times weak, were well drilled, the costumes superb, the stage setting artistic and the orchestra magnificent. If the latter could only be kept a little more down in the brass instruments when there is a contest between one solo singer and eighty-five instrumentalists, the enjoyment would be greater. It is unnecessary to enter into details about such artists as Mesdames Klafsky, Gadski and Eibenschuetz; the first of these ladies as Brunhilde especially, and the latter as Ortrud scored a triumph never excelled here.
32Miss Louise Mulder as Sieglinde and Eva, especially in the latter rôle, proved herself an excellent artist, as did also Miss M. Maurer and M. Schilling in some of the minor rôles. Artists like Emil Fischer, notably as Hans Sachs; Conrad Behrens and Paul Lange, whose interpretation of Mime and David in Die Meistersinger could not be excelled, are too well known to require further comments. Of the tenors, Max Alvary stands, of course, at the head. His Tannhäuser and Siegfried have gained him an enviable reputation, and the fact that he appeared here for the 120th time in the latter rôle is sufficient evidence of the eminent service he has been to the Wagnerian school, although it must be confessed that his voice gives at times unmistakable evidence of the fatigue and strain to carry the part through.
34Mr. W. Gruening as Lohengrin and Siegfried in the Gotterdammerung made a fine impression. Mr. D. Popovic, a refined actor and possessed of a magnificent baritone voice, who appeared as Telramund, Wolfram and Wotan, is a great acquisition to the company. The stentorian voice of Mr. W. Martens as the Herald in Lohengrin was also heard to advantage as Gunther, which latter part he played excellently.
36Too much praise cannot be given to Mr. Gerhard Stehmann, almost a new acquisition to a company and whom accident discovered here in St. Louis last spring when the opera company played here. Mr. E. Fischer received at that time a telegram that his wife was dangerously ill, a substitute had to be procured, and Mr. Stehmann, a member of a local dramatic company, was found, who has since proved himself an artist, vocally as well as histriionally, that will no doubt occupy a much higher place in literature than he yet occupies. As Beckmesser he distinguished himself above all others, as he did not make a burlesque of the part, an opinion which all those shared with whom I spoke, who had seen and heard some of the best artists in the rôle both in Europe and in this country. Another singer deserving honorable mention is Barron Berthald, in whom St. Louis takes a special interest, as two years ago he appeared here in light opera during the summer season at the Cove. Now we heard him as Siegmund in the Walküre. Although this is his first season in Wagnerian opera yet he promises to rise, as the confidence and fine acting which he displayed in the part allotted to him show him to be possessed of sufficient natural talent, which, with severe study, will bring its own reward.
38To-night the season closes with Beethoven's Fidelio, but as my letter has to be posted before then I shall not be able to give an account of it. Of the Tannhäuser opera, which was given at to-day's matinée in excellent style, I wish to mention specially the overture, which I never heard more superbly played, which seemed to be the general verdict, as the applause at its conclusion was immense, and did not subside until Mr. Otto Lohse, the musical director, turned to the audience, acknowledging the compliment.
40W. MALMENE.
42… SIGNOR GIUSEPPE …
44DEL PUENTE,
45The Baritone.
46OPERA AND CONCERTS.
47Vocal School: 1726 Spring Garden, Philadelphia, Pa.
49AUGUST GEMÜNDER & SONS,
50-MAKERS OF THE-
51"Gemünder Art" Violins,
52"Gemünder Solo" Mandolins and Guitars.
53Rare Old Violins, Bows, Strings and Repairing.
54Send for new Catalogue. 13 East 16th St., New York.
56NEW CHICAGO MUSIC HOUSE.
57THE STRAUSS MUSIC CO.,
58267-269 WABASH AVENUE.
59Around the corner from STEINWAY HALL.
60Half a block from the AUDITORIUM.
61ALL STANDARD PUBLICATIONS, ALL EDITIONS.
62COMPLETE STOCK OF EVERYTHING.
64COLUMNS OF PREPARED NOTICES HERALD THE COMING OF OTHER VIOLINISTS.
66SAURET
67IS SO GREAT IT IS NECESSARY ONLY TO MENTION HIS NAME. JOHNSTON & ARTHUR,
68THIRTY-THREE UNION SQUARE, N. Y. CITY.
70SEASON 1895-1896.
71All inquiries regarding dates and terms for
72PIANO RECITALS
73By Mr. E. A. MacDOWELL
74SHOULD BE ADDRESSED TO
75BREITKOPF & HÄRTEL, NEW YORK.
76Complete assortment of his own compositions and revised editions of selected Piano compositions of modern composers. Catalogues free of charge on application. Selections sent to Teachers and Music Schools of good standing. Correspondence solicited.
78NEW SONGS BY SEBASTIAN B. SCHLESINGER.
79Love Haunted. Little Boy Blue. Phill's Secret. There, Little Girl, Don't Cry. Love, I Shall Know It All. Hark to My Lute.
80Published by J. M. SCHROEDER. 12 EAST 16TH STREET, NEW YORK.
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