Scan 31
Musical Courier 1896-03-04: Vol 32 Iss 835, 1896
60 lines. Read by computer on 22 September 2026. Printed page 32. See the scan on archive.org.
1The Theodore Thomas Testimonial.
2THE friends of Mr. Thomas have united in commemorating the fiftieth year of his residence in this country, and will present to him on the occasion of his re-appearance at the head of his own orchestra on March 17, at the Metropolitan Opera House, a fitting testimonial of their high esteem in the shape of a massive silver centre piece for the table.
4The outline and general intention is to represent a crown in an ornamental fashion. The Greeks were the first to use a band of twisted twigs of laurel to confer a distinction; sometimes oak leaves were employed as well, to denote strength of feeling and hospitality, and all to signify the exalted position of the possessor, and finally the conventional form of a crown was used to distinguished the master. The form of a centre piece was selected therefor, that the testimonial would be both useful and ornamental.
6Attributes of music are employed, as well as other symbols, to describe the sentiments in close connection with Mr. Theodore Thomas, to whom this piece will be presented.
8The violin, his favorite instrument, is shown to play an important part in the decoration by the volute or scroll at each end of the oval shape given to the centre piece. Around the base are spaces in the shape of ornamental hearts, to take the portraits of the celebrated musicians whose fine art has been so well translated and repeated by Mr. Thomas. Between these medallions is the ornamental torch of Hymen, denoting the marriage of musical art and the man that represents it, and Lohengrin's swans lend their graceful outlines to the general significance.
10The loops of the crown above this gallery of masters are strengthened by garlands of ivy leaves—friendship. Topping these ornaments is the oak leaf supporting the triumphal Babino, which is lending harmony and elevation to all these attributes of genius.
12A Greek ornamental lyre at intervals around the top festoons assists the whole poetical construction to form a vessel of practical dimensions for a punch bowl. The gilt lining can be removed when flowers or fruit occupy the centre, and the whole outside ornament is given an open-work effect. Approximate weight in sterling silver, 200 ounces. Designed by Mr. Paulding Farnham, of Messrs. Tiffany & Co.
14Mr. Rudolph Aronson, who has undertaken the collection of subscriptions to the testimonial, reports the following new subscribers:
16C. A. McAlpin, M. Pappenheim, G. B. Haight, Geo. L. McAlpin, Cornelia K. Mauley, William Mason, Amy C. Townsend, Boosey & Co., Edward Schubert & Co., S. Behrens, Mrs. Henry Draper, Ella A. Toedt, Carl Fischer, Alexander Lambert, C. F. McKim, Stanford White, Benno Loewy, D. G. Yuengling, Jr., K. A. Stanley, Miss E. W. Washburn, Karolina Klauser, Frederick Dean, C. S. Horner, Lillian Smith, Frederick Cromwell, Miss Eloise S. Breese and Mrs. Jack Gardner.
18Subscriptions, no matter how small, may be forwarded to Rudolph Aronson, manager Bijou Theatre, New York, who will acknowledge receipt.
20Gotha.—The Ducal Theatre will study for the Coburg season a musical legend, Die Erlösung. It is a one act piece, with prologue by Menasci, and music by August Schasser.
22Director of the Conservatoire.—The appointment of director of the Paris Conservatoire is likely to be given to one of five composers. They are MM. Reyer, Massenet, Saint-Saëns, Paladilhe and Theodore Dubois. The Echo de Paris states that since the foundation of the Institution there have only been four directors, viz.: Sarrete, Cherubini, Auber and Ambroise Thomas.
24F. Lux.—A memorial festival for Friedrich Lux, the composer and organist, who died last year, took place lately at Mainz, where he had been for a lifetime the director of the Liedertafel. The dead master's daughter, Jenny Lux, played with great success some of Lux's organ compositions. The cavatine from his Käthchen von Heilbronn, with orchestral prelude, was also much applauded.
26Third Symphony Society Concert.
27THE third concert of the New York Symphony Society took place last Saturday night in Carnegie Music Hall. This was the program at both the Friday afternoon concert and the regular Saturday night function:
28Symphony No. 3, Eroica………………………………………Beethoven
29Concerto No. 2 in B flat, for piano, with orchestra………….Brahms
30Allegro con troppo.
31Allegro appassionato.
32Andante.
33Allegretto grazioso.
34Symphonic poem, Tasso………………………………………Liszt
36Mr. Joseffy.
38The bad weather Saturday night militated seriously against a large attendance, although the house was well filled. At the matinée the audience was larger. Mr. Damrosch was warmly welcomed, and his band played with much spirit, although the wear and tear of a hard season of travel told in their work, which was in the main rough. The symphony was read rather hurriedly, the coarseness of the brass choir being most an unpleasant feature. The first hornist, Mr. Reiter, does not keep in the picture. He has a wonderful tone, but it was too prominent, especially in the concerto.
40Joseffy, after all, was the raison d'être of both affairs. He created great enthusiasm and he had to return to the loftiest sort. It appealed to the intellect as well as the senses. The tone color was marvelous in its variety, and the reading full of deep thought and sentiment. That Joseffy should have selected such a concerto shows his intense love of art for art's sake, although the work has become popularized in a certain sense.
42His touch has the old witchery and we long to hear him in a piano recital. He is one of the greatest of Bach and Chopin players, and as he intends soon giving a recital in Boston, we do not see why New York should be slighted. His art is so distinguished, so legitimate and satisfying that it is a shame to deprive lovers of piano playing the opportunity. His playing is incomparably fine as an object lesson for students, for it is utterly free from all the fustian, the hyperbolical rant, extravagance and senseless fury of the conventional virtuoso of the day.
44Music in Weimar.
45SCHROETERSTRASSE 28, WEIMAR, February 18, 1896.
47LAST week Fidelio was given again, this time with Frau Krzyzanowski-Doust as Leonore. Unfortunately I could only stay to hear the great aria in the first act, and regret very much having to miss the prison scene. As far as I heard her, she is the best Leonore we have had here. Her disguise was excellent and she had a handsome appearance on the stage. In the terzett with Rocco and Marzelline she may have been somewhat nervous, but the Abscheulicher, wo eilst Du hin was sung with such electric force that the audience broke into applause, and she had to appear twice on the open scene before the opera could be continued. I heard afterward she had a most pronounced success, and was called six or seven times before the curtain. Pity that she and her husband are engaged for Hamburg next season.
49The Hermit's Bell, a comic opera, by Mailliart, was revived too, with Frl. Schoder as the peasant girl. In this and Carmen she is eminent. A great charm with her is that she seldom plays a part twice exactly alike with the stereotyped stage business; with each repetition she seems to have fresh ideas, so one is always on the alert for something new from her.
51Herr von Spinger was irresistibly funny in his part of a farmer who tries to conceal his wife from the soldiers. The much talked of comic opera by E. N. v. Reznicek, Donna Diana, was given at last on Sunday with the most complete success. Capellmeister Krzyzanowski excited a great deal of attention by directing this most difficult and complicated work from memory, and did it well, too. This is the sort of man we are losing. I made a point of attending the last two rehearsals, and so heard the work three days running. As far as I can judge, it is certainly on a level with Verdi's Falstaff. It has the charm of originality; one does not hear augmented and diminished intervals crying "Wagner, Wagner, why tormentest thou me?" For my taste, it is a milestone in comic opera, just as Guntram is in the tragic-musical drama.
53Reznicek has great talent for instrumentation, and the orchestra part of his opera is very well written, but he expects rather too much of the singers. Nevertheless, Frau Stavenhagen, representing the title rôle, sang all that was demanded of her and acted her part to perfection; it suits her personality and she caught the spirit of the thing exactly. Herr Zeller gave Don Caesar and played the cavalier well; he is always so gentlemanly in everything he does. He was in very good voice and had a success. Gmür and Frl. Schoder as Perin, the court jester, and Floretta, a playmate of Donna Diana, had very different parts both to act and to sing.
55I think I have said enough about these members of our opera to indicate that they are excellent; that is to say they excel (in acting, not always in singing) in everything they undertake, and this evening they fulfilled every expectation. Reznicek was called out at the close of the opera and rewarded with a wreath. Krzyzanowski's name was also heard from all parts of the house, and he, too, came on the stage and bowed his acknowledgments. The public was entirely "begeistert."
57Richard Strauss and Hans Sommer, the song composer, were in the audience. Concertmeister von der Hoya is leaving, and there are rumors of somebody coming from Munich.
59EDW. W. OSBORN.
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