Scan 17
Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
59 lines. Read by computer on 26 September 2026. Printed page 18. See the scan on archive.org.
1Italian melody, its performance to-day, owing to the progress of the German school even here in Italy, is much more appreciated and patronized.
3Mariacher is the undoubted rival of the great Tamagno; his voice is much more musical and "timbrato," if not quite so large, and his action, even in his youth (for he has but thirty years), is finished and artistic. His prime fault is the unequalness of his voice. His head tones are developed, free and "squillante," to the sacrifice of his lower tones, which is a very common fault with those whose voices are inclined to sustain a high tessitura.
5The Scala will open at Christmas with Henry VIII. I hope we will have as good a season as last winter, which was the best in many years.
7Signor Alvarez, the Spanish tenor, is in Milan for a few months. His success with Albani, touring in Russia, was a triumph, and he now contemplates a trip to the States. When you hear this artist you may be prepared to take off your hats. We have none like him at home; a voice of argentine freshness, perfect equality, and a high C which he can "filare" to his heart's content. He has only had two years of career, and is not yet thirty. But there is a future before him and a sure welcome across the waters—aspettaremo!
9G. E. D.
11Music in Switzerland.
12MONTREUX, November 30, 1895.
14OUR autumn has been especially beautiful and prolonged. 'Tis quite delightful to read of cold and snow everywhere, even as far south as Menton and as near as Geneva; while we, sheltered by our encircling mountains, are still enjoying our Indian summer, or l'été de Saint Martin, as folks here call it.
16In this fresh, exhilarating air, tempered by bright sunshine, walking is a positive delight; the pleasure is accentuated by the gorgeous pictures of the hillsides, now wrapped in their autumn "coat of many colors."
18Of amusements there has been no lack. The hotels, cleared of their French visitors, are filling with the English winter crowd. Already several dances have been given and two balls.
20Vevey came forward and did her share toward our musical entertainment.
22The season opened Friday, November 13, with the first of Herr Langenhan's abonnement concerts, the soloists on this occasion being Mlle. Johanna Brackenhammer, contralto of the Royal Opera at Stuttgart, and her sisters, Mlle. Rosa Brackenhammer, violincellist, who has just completed her first tour in Europe, receiving favorable criticisms everywhere. She has a fine instrument and handles it well. She has good technic, and plays delicately and expressively. She gave a concerto by Herberlein, a new author, I believe; adagio, Widmung, and mazurka, by Popper. Mlle. J. Brackenhammer possesses an alto voice of force and compass; her singing is of the dramatic order. She sang Massenet's Ouvre tes yeux bleus, Bruch's Serenade and an aria from his Odysseus, and Von ewigen Liebe, Brahms.
24The orchestral selections were Reinecke's Friedensfeier, Svendsen's lovely Mélodie Norwégienne, and the Pastorale Symphony. This concert took place on Friday, November 15. Was it with intention that the same symphony was given at the Kursaal Thursday concert, the very day previous? "Comparisons are odious," but when Herr Jüttner so invites them he must suffer the consequences, and suffer he must in this instance, having about half as many men as in Langenhan's orchestra, and not having time to rehearse as they do.
26Herr Langenhan is essentially a leader—quick, nervous, full of magnetism and fire; infusing his spirit and enforcing his will. He surpassed himself in this, which, if not the most beautiful, is the most generally beloved of Beethoven's symphonies. It requires above everything feeling in its interpretation, a sympathy with the idyllic scenes portrayed. The piping notes of the flute, imitated by the clarinet, picked up by one instrument, tossed to another, were gracefully and artistically done. The exquisite reverie of the adagio lost none of its tenderness, and the climaxing storm, followed by peace and calm and thanksgiving, received merited applause. The concert was pecuniarily as well as artistically successful. The next takes place in February, with same soloists, strengthened by the celebrated Trio Hollandais.
28In the large hall of the Vevey Theatre was also given a concert by Mlle. Cécile Chaminate, assisted by Prof. Leopold Kettin, Mme. Kettin, soprano, and Mlle. Kettin, alto, of Geneva. With the exception of the first duo, La Vierge à la Creche, by César Franck, the whole program of eighteen numbers was exclusively the compositions of Mlle. Chaminate, who is equally well known as a pianist and composer. Unfortunately I could not attend this concert, which report says was well attended and successful. Another will soon be given in Territet, which I hope to personally report.
30The Kursaal concerts continue good and are well attended. Herr Jüttner, perhaps feeling himself weak in his violins, has secured as compensation a cornet soloist, who often favors us. Echinger, the first 'cellist, and an old favorite, has been heard once or twice. He plays well, but his repertory is extremely limited and he takes no pains to enlarge it; consequently his selections have become over familiar and tiresome. The first violin has proved to be, as I thought, a good, conscientious, all around player, but incompetent to fill properly the solo requirements of his position.
32Three theatrical performances were given—Frou Frou; les Fourchambault, by Augier, and Charley's Aunt—only the last drawing a good house. The troupe is a good stock company from Lausanne and plays fairly well.
34These "poor successes" were amply compensated by the event of the month—Prof. Dr. Joachim's concert on Thursday, November 21. He has played here previously in years long gone by; but this was rumored as his last tour, and everyone pressed to hear him. As a local sheet has it: "Sardines packed in a musical box, instead of the ordinary tin receptacle, give but a faint idea of how the Kursaal was filled." The box office was opened Sunday afternoon, and by Monday 9 A. M. there was not a seat left in the house. Had it not been for the kindness of Herr Rueff I would certainly have lost my chance of again hearing the king of violinists! "What's in a name?" Much. Joachim still in public opinion remains the first of all violinists. No one has drawn here as he did. All the violinists, 'cellists, pianists and even singers, with the single exception of Minnie Hauk, have played to ordinary houses. Joachim's audience could easily have filled two concert halls and many were turned away. To criticise Joachim is beyond my power and wish. I felt too deeply upon seeing again that familiar face. What a contrast his gentle, kindly glance and quiet demeanor to the impatient Sarasate, whose haughty eye scorned the house, and whose audible "saprists" dismayed the audience as well as disconcerted the orchestra. They were excusable in finding it difficult to follow the señor's wonderful tempo and astonishing cadenzas after only one—and that a half—rehearsal.
36Other artists please by the fire, the brilliancy, the grace of their play, but 'tis visibly produced and with the apparent desire for effect. Joachim's charm is the ease of his playing, the wonderful technic, with utter lack of effort; the "perfect art which conceals art," and makes hardest work seem play. In Bach's gavot this was particularly noticeable, the light touch, the binding together of the notes so delicately, so deliciously done, 'twas wonderful and charming! My son, who is at present studying that very gavot, said "How easy it looks!" and ever since he has been proving how difficult, how almost impossible it is, to play like that. His encore, a bourrée by Bach, was of the same style.
38Joachim has visibly aged since five years ago, and in spite of that enduring technic I thought his bow arm weak. He was most enthusiastically received, applauded again and again, and received a large and handsome wreath. The orchestra did good work, and Dr. Joachim was pleased to accord them deserved praise. They became enthused also, and played as never before the last selection, Le Rouet d'Omphale.
40What amused me much were the comments of the audience. 'Tis true that women, carried away by the music and its associations, wept, and 'tis also true that many cultured people and even some musicians were in the audience; but—during the Beethoven concerto—a lady near me remarked, "haut voix," "Dear me, what a funny fiddle; it has no sound!" In the lobby a gusher, not American, though I translate her Russian for you, said: "Oh, he was lovely! perfectly lovely! But what a pity he did not play a waltz to end up with! It would have been so much gayer!" A German lady settled the matter: "Ja, ja, er spielt sehr gut, aber ein solcher Künstler sollte eine bassere Geige haben."
42An English paper facetiously bowed itself out of criticism, or even comment, thus: "When I looked at my masculine surroundings I felt positively ashamed of the shortness of my hair; indeed, in its present state I feel that any sort of criticism would be out of place."
44It is needless to say that this gentleman is one of the brotherhood generally devoted to criticism of the ballet.
46The concert was a grand success, and many were the appeals to have it repeated. This was impossible, as the following day Joachim played in Lausanne and the house there was already sold out. Herr Rueff was congratulated and thanked for the great pleasure he had given, and so ended the month of December.
48N. S.
50Memorizing in Orchestras.—In a criticism which appeared in a Berlin contemporary some weeks since a suggestion was made that all musicians (i.e., of important orchestral societies) should render by heart the celebrated overtures, symphonic poems and also, it is to be presumed, the better known symphonies. Certainly one would think that quartet parties, trios and duetists would play from memory, as well as such instrumentalists as devote themselves to accompanying; but that orchestral musicians should be expected to play from memory is demanding too much. That many accompanists play from memory is a well-known fact, and one accompanist, who traveled around with the celebrated Raymond von Zur-Mühlen, remarked that he felt more in sympathy with the work when he knew it by heart, as there was nothing then to hinder him from giving the singer his whole attention.
52Hans von Bülow experimented many years ago with the Berlin Philharmonic Orchestra without success, and where he failed, especially with such an orchestra, others cannot even hope to succeed. In the first place, in an ordinary orchestra of from sixty to seventy performers, at least fifteen per cent. have unreliable memories, and again, excepting at rehearsals, how many musicians ever see their parts? They seldom take them home, as they say it is too much fag. Even conducting from memory is dangerous, for I was present at a performance of Beethoven's Ninth Symphony when the conductor directed from memory, and in the middle of the work there was a thorough muddle, after which the conductor had the sense to take up his score and direct from it for the rest of the evening. Weingartner, in his book On Conducting, writes: "The conductor should be so acquainted with the work he has to direct that the score does not chain his attention, but rather that it is a slight help to his memory."—Correspondent Musical Standard.
54MR. and MRS. GEORG HENSCHEL IN AMERICA During April and May, 1896.
56First production of GEORG HENSCHEL's phenomenally successful STABAT MATER under the composer's personal direction. Also in SONG RECITALS.
58For particulars address WOLFSOHN'S MUSICAL BUREAU, 131 E. 17th Street, New York.
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