Scan 19
Musical Courier 1896-03-04: Vol 32 Iss 835, 1896
225 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 20. See the scan on archive.org.
1like a summer theatre, a speculation in weather." Finally Dr. Loewenfeld, of the Schiller Theatre, bursts into song:
3"Ich bitte Sie, Herr Redacteur,
4Was stellen Sie für Fragen,
5Ob wohl der Ausstellungsverkehr
6Den Bühnen wird behagen,
7Ob sich "Messieurs les directeurs"
8Darüber wohl beklagen.
9Ja, wenn heut' schon October wär'
10Dann könnt' ich's Ihnen sagen."
12After our experiences of Chicago we can tell where the hayseed's money will go to if Berlin only organizes a Midway Plaisance.
14The Thomas Concerts in the East.
15MR. THEODORE THOMAS, with the Chicago Orchestra of ninety musicians, will give a series of seven grand orchestral concerts in the Metropolitan Opera House in March. There will be five evening concerts on the following dates:
17Tuesday, March 17, 8:15 p. m.
18Saturday, March 21, 8:15 p. m.
19Monday, March 23, 8:15 p. m.
20Wednesday, March 25, 8:15 p. m.
21Saturday, March 28, 8:15 p. m.
23and two matinées on the following dates:
24Tuesday, March 24, 2:30 p. m.
25Friday, March 27, 2:30 p. m.
27The evening concerts will begin promptly at 8:15 p. m., and the matinées at 2:30 p. m. The soloists, as announced on the following programs, are Mme. Emma Juch, Mr. Rafael Joseffy, Mr. Bruno Steindel, Mr. Edmund Schuecker, Mr. Plunket Greene, Mr. Max Bendix and Mr. Ben Davies.
29The programs speak for themselves, representing as they do such a wide range of orchestral literature, and being interwoven one with the other, so as to form a perfect chain.
31Season tickets are ready for delivery at Schubert & Co.'s, 23 Union square. The subscription prices for the seven concerts are as follows:
33Orchestra chairs and orchestra circle………………………………………$10.00
34Dress circle (first row)………………………………………………………..10.00
35Dress circle (other rows)…………………………………………………….7.50
36Balcony……………………………………………………………………………..5.00
37Boxes (first tier)…………………………………………………………………..7.50
38Boxes (second tier)……………………………………………………………..6.00
39Stall boxes………………………………………………………………………….5.00
41Prices of season tickets are proportionately smaller than the prices of single tickets if purchased for each concert.
43Family circle to students, $2 for the season. Single tickets will be 50 cents.
45PROGRAMS IN NEW YORK.
47Tuesday, March 17, at 8:15 P. M.
48Overture, Leonore, No. 8…………………………………………………Beethoven
49Symphonie Pathétique…………………………………………………….Tchaikowsky
50Symphonic variations…………………………………………………….Dvorák one of two readings
51Symphonic variations………………………………………………………Dvorák one of two readings
52Polonaise, A flat………………………………………………………………Chopin
53Orchestration by Theodore Thomas.
54Vorspiel, Die Mistersinger……………………………………………..Wagner one of two readings
55Vorspiel, Die Mistersinger…………………………………………………Wagner one of two readings
57Saturday, March 21, at 8:15 P. M.
58Soloist—Emma Juch.
59Variations, Choral St. Antoni…………………………………………..Brahms
60Symphony, Eroica……………………………………………………………Beethoven
61Songs—
62In the Hothouse. { Studies to Tristan and Isolde….Wagner
63Dreams…………. (Orchestration by Theodore Thomas.)
64Mme. Emma Juch.
65Introduction and closing scene, Tristan and Isolde……Wagner
66Mme. Emma Juch.
67Overture, fantasia, Romeo and Juliet…………………Tchaikowsky
69Monday, March 23, at 8:15 P. M.
70Soloist—Mr. Rafael Joseffy.
71Sonate, F minor………………………………………………………………Bach
72(Orchestration by Theodore Thomas.)
73Symphony No. 4, E minor……………………………………………..Brahms
74Concerto No. 4, G major……………………………………………….Beethoven
75Mr. Rafael Joseffy.
76Overture, Sappho……………………………………………………………Goldmark
78Tuesday Afternoon, March 24, at 2:30.
79Soloists—Mr. Bruno Steindel, violincellist; Mr. Edmund Schuecker, harp.
80Two marches, E flat, G minor, op. 40………………………..Schubert
81(Orchestration by Theodore Thomas.)
82Symphony No. 7, A major……………………………………………..Beethoven
83Concerto for violincello…………………………………………………….Molique
84Mr. Bruno Steindel.
85Scherzo, op. 45………………………………………………………………Goldmark
86Fantasia, Caracteresque, for harp…………………Parish-Alvars
87Mr. Edmund Schuecker.
88Marche Funèbre………………………………………………………..Chopin
89(Orchestration by Theodore Thomas.)
90Overture, Tannhäuser…………………………………………………Wagner
92Wednesday, March 25, at 8:15 P. M.
93Soloists—Mr. Plunket Greene, bass; Mr. Max Bendix, violin.
94Symphony No. 1, B flat…………………………………………………Schumann
95Aria………………………………………………………………………………Brahms
96Mr. Plunket Greene.
97Concerto for violin………………………………………………………..Brahms
98Mr. Max Bendix.
99Overture, fantasia, Hamlet…………………………………………..Tchaikowsky one of two readings
100Overture, fantasia, Hamlet………………………………………Tchaikowsky one of two readings
101Wotan's Farewell and Magic Fire Scene, Walküre……Wagner
102Mr. Plunket Greene.
104Friday Afternoon, March 27, at 2:30.
105Soloist—Mr. Rafael Joseffy.
106Symphony, From the New World………………………………….Dvorák one of two readings
107Symphony, From the New World……………………………Dvorák one of two readings
108Concerto, No. 2, A major……………………………………………..Liszt
109Mr. Rafael Joseffy.
110Bacchanale, Tannhäuser.. {………………………………………Wagner
111Siegfried Idyl………………………………………………………..Rich. Strauss
112Till Eulenspiegel's Jolly Waggeries…………………….Rich. Strauss
114Saturday, March 28, at 8:15 p. m.
115Soloist—Mr. Ben Davies.
116Serenade, No. 1, D major……………………………………………..Brahms
117Recit. and Aria, Waft Her, Jephthah……………………………Händel one of two readings
118Recit. and Aria, Waft Her, Jephthah………………………..Händel one of two readings
119Mr. Ben Davies.
120Symphony, B minor (unfinished)………………………………….Schubert one of two readings
121Symphony, B minor (unfinished)……………………………Schubert one of two readings
122Recit., No. I Can Bear My Fate No Longer { Freischutz…Weber
123Aria, Through the Forests……………………. (Orchestration by Theodore Thomas.)
124Mr. Ben Davies.
125Overture, Leonore, No. 3……………………………………………..Beethoven
127PROGRAMS IN PHILADELPHIA.
128March 18.
129Soloist—Mr. Plunket Greene.
130Symphony, No. 7, A major……………………………………………..Beethoven
131Ye Twice Ten Hundred Deities………………………………….Purcell
132Mr. Plunket Greene.
133Overture, Sappho………………………………………………………..Goldmark
134Symphonic Variations, op. 78………………………………………Dvorák
135Polonaise, A flat……………………………………………………………Chopin
136(Orchestration by Theodore Thomas.)
137Wotan's Farewell and Magic Fire Scene, Walküre……Wagner
138Wotan………………………………………………………..Mr. Plunket Greene
140March 19.
141Soloist—Mr. Max Bendix.
142Sonate, F minor………………………………………………………………Bach
143(Orchestration by Theodore Thomas.)
144Overture, Leonore No. 8……………………………………………..Beethoven
145Concerto, for violin………………………………………………………..Brahms
146Mr. Max Bendix.
147Symphony, B minor (unfinished)………………………………….Schubert one of two readings
148Symphony, B minor (unfinished)……………………………Schubert one of two readings
149Scherzo, op. 45………………………………………………………………Goldmark
150Marche Funèbre………………………………………………………..Chopin
151(Orchestration by Theodore Thomas.)
152Overture, Fantasia, Romeo and Juliet…………………Tchaikowsky
154PROGRAMS IN BROOKLYN.
155March 20.
156Soloist—Rafael Joseffy.
157Overture, Lenore, No. 3……………………………………………..Beethoven one of two readings
158Overture, Lenore, No. 3…………………………………………………Beethoven one of two readings
159Symphony, B minor (unfinished)………………………………….Schubert one of two readings
160Symphony, B minor (unfinished)……………………………Schubert one of two readings
161Concerto No. 2, A major……………………………………………..Liszt
162Rafael Joseffy.
163Overture, Fantasia, Romeo and Juliet…………………Tchaikowsky
164Scherzo, op. 45………………………………………………………………Goldmark
165Polonaise, A flat……………………………………………………………Chopin
167Thursday, March 26.
168Soloist—Mme. Emma Juch.
169Overture, Sappho………………………………………………………..Goldmark
170Romance, Damnation of Faust…………………………………….Berlioz one of two readings
171Romance, Damnation of Faust………………………………….Berlioz one of two readings
172Bacchanale, Tannhäuser.. {………………………………………Wagner
173Siegfried Idyl………………………………………………………..Wagner
174Songs—
175In the Hothouse. {………………………………………Wagner
176Dreams…………. (Instrumentation by Theodore Thomas.)
177Mme. Emma Juch.
178Till Eulenspiegel's Jolly Waggeries…………………….Rich. Strauss
180Aramenti Concert Company.—The Aramenti Concert Company returned to New York last week after a most successful tour in the provinces, during which they gave sixty concerts.
182A Pleasing Musicale.—Mrs. Adèle Laeis Baldwin gave two musical teas at her home, 124 West Eighty-second street, on the afternoons of February 19 and 26, and notwithstanding the unpleasant weather the rooms were crowded. The house was beautifully decorated with palms, ferns and cut flowers, pink being the prevailing color.
184At the first musicale Mrs. Baldwin was assisted by Mr. Perry Averill, the well-known baritone, and Mr. Orton Bradley accompanied; at the second by Mr. Fred. Hilliard, baritone, and Miss Martha Miner, soprano, who sung several beautiful songs and a very pretty duet. Miss Siebold, soprano, also sang, and Miss H. C. Palmer, of New Brunswick, N. J., accompanied. Mrs. Baldwin, who is a charming hostess, was gowned in black satin with bodice of pink. She was assisted in receiving by Mrs. Warner and Mrs. Hilliard, Miss Constance Burlingame, Miss Rutter, Miss Roynton, and Mrs. Cheeney poured tea. Mrs. Baldwin sang a number of beautiful French and German songs, a charming little English ballad and the Lost Chord. Those who had the pleasure of hearing the latter will never forget how beautifully it was sung.
186RACONTEUR.
188OUR LADY OF SORROW.
190YOUNG Italy has awakened. Lulled to drowsy slumber by the sweet, blustering tunes of Bellini, Donizetti and Rossini, the mother of nations, the stepmother of the arts—a raped heritage of Greece—became a byword, and stolid Germany shook its fat sides with gross laughter when her music was hymned.
192The land of Leonardo stirred after many childish dreams, in which the chord of the sixth menaced. She went to sleep with Rossini's contrapuntal trombones sliding scales into the bowels of earth. She awoke to find Wagner straddling the peninsula, his sardonic mouth smiling, on his head the Tarnhelm of idealism and about his mighty shoulders the harsh cloak of realism. Head in heaven, feet in hell, Young Italy grasped the meaning of the parable.
194* * *
196Arrigo Boito was the forerunner, the John the Baptist, of the new evangel. Verdi, who had pressed out purple melodies in his youth, became a seer in his old age. With the furious speech of salacious salad days he uttered new and mystic words, but if the voice was Verdi's the words were Wagner's! He had not lost his old magic, for he could summon spirits from the vasty deep, and, unlike Glendower's, they came when summoned.
198He stamped; then came and were heard—Ponchielli, Boito, Mascagni, Puccini and Leoncavallo!
200Young Italy really rose up, and her new literary folk, from Verga to d'Annunzio, rival in formal finish and audacity of expression their French and German congeners, for it cannot be denied that first from Paris and Bayreuth came glad tidings of the New.
202* * *
204It was the greatest of all modern critics and poets, Goethe, who cunningly said that through its very limitations genius reveals itself.
206"In der Beschränkung zeigt sich erst der Meister." This recalls Eleonora Duse. Duse!—a cruel, short name, subtly curt and full of strange beckonings.
208* * *
210Her limitations are admirable. They sharply define her extraordinary talent. Duse's is a tempered realism; a realism which, while it keenly feels the nearness of our daily environment, also takes on the spiritual impress of the mystery of motives. She has added a new shudder to the stage. In her great ineluctable eyes, with their careless, drooping lids, are sombre memories of medieval tragedies. Lucrezia Borgia, slender hipped, low browed, girlish in profile, goes by, and the horrid hush of poison is in the air.
212* * *
214She is an intimate, psychologic actress, and the processes of her mind are almost audible. The fine, crafty, Italian brain works well within modern conditions, and says the most when saying the least. The tact of omission she has developed abnormally, and the things she leaves unsaid would furnish forth the repertory of a hundred actors.
216* * *
218This negation of gesture, frugality of line and lip, make her work sometimes gray and monotone, and sometimes implacable, and as hard as carved bronze.
220But observe how eloquent the play of hands, the disposition of draperies! How curved her gait, her shuddering, gliding, inevitable, unwrinkled walk!
222Her loveliness is occasionally irritating; her nose both malicious and meek in Mirandolina and Santuzza. She causes strange nausea in womankind when she sits slowly down in Sicily, her knees wide apart, peasant fashion, her eyes sated with sorrow, and hated maternity her only thought!
224Then at times her evasive glance, troubled and dis-
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