Scan 24
Musical Courier 1896-12-16: Vol 33 Iss 876, 1896
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1THE MUSICAL COURIER.
3very soon in the repertoire of other opera houses. The comments of the Hamburg press are all exceedingly flattering. But even with Frau Klafsky's incomparable impersonation the general effect must have been a poor one had not the rich musical invention and admirable artistic workmanship of the composer offered a solid foundation for the interpretation.—Leipziger Tageblatt und Anzeiger, February 23, 1895.
5That Klein is highly gifted and a thorough artist is evidenced by every note in his opera. Klein's writing is lucid. With choice harmonies he combines a power of melodic expression full of nobility. Who ever wishes to appreciate Klein's music—nay, love it—let him take the piano score. He will find wonderful things, lyric passages full of passion and sweet magic. Klein's creation shows the hand of a master. Meaningless play with the resources of the orchestra is repulsive to his positive nature.—Ferdinand Pfohl, Hamburger Nachrichten, February 14, 1895.
7In Mr. Bruno Oscar Klein we welcome a thoroughly trained, more than ordinarily gifted composer. He possesses absolute mastery over the complicated apparatus of the modern opera. He is always interesting in his harmonies, and knows how to heighten such effects by tasteful instrumentation. He loves rich colors like Fortuny. Already in his overture he reveals in glowing colors that remind us of the magic brush of the great colorist Monticelli. The first performance was a most pronounced success.—Hamburger Freie Presse, February 15, 1895.
9Klein has been able to avoid all imitation, and thus has preserved his individuality. He understands the art of orchestral coloring and dramatic characterization. We are especially impressed by the thoroughly artistic moderation of the instrumentation. The score contains gems of orchestration, seems full of poetry, entrancing "mood paintings" (Stimmungsbilder).—Hamburgerischer Correspondent, February 14, 1895.
11We would like to quote for our readers. But where to begin and where to end? Klein's music in this respect is truly rich. The last act, as frequently happens, does not fall below the level of the preceding ones. For the musician Kenilworth is one of the most interesting operas of modern times.—August Ludwig, Neue Berliner Musikzeitung, January 17, 1895.
13It was a guarantee for the value of the work that an artist of the rank of Klafsky chose the new opera for her benefit; and the success was in accordance with the expectations. The critics praise the strong dramatic talent of Klein; his fertility of invention, his striking musical characterization. We are truly glad of it, for after his first concert in Bühnner Hall we had pronounced Klein one of the chosen ones among the many that are called.—Centralblatt für Instrumental-Musik und Chorgesang, Leipzig, March 3, 1895.
15Klein possesses a strong individuality. His harmonies are rich and noble. Everything sounds beautiful, never forced. In interesting closing formulas Klein's imagination is inexhaustible; his sense for beauty of sound (Klangschönheit) and forms is strongly developed. With all his passion, in highest exaltation Klein never exceeds the bounds of artistic moderation. * * *
17Klein's treatment of the orchestra is masterly. Every instrument speaks its proper language. * * * A composer that is able to write such an opera as Kenilworth is sure of success during his life and sure of fame after his death.—Alfred Remy, Neue Berliner Musikzeitung, January 16, 1896.
19Permit me to say right here at the outset that my anticipations, great as they had been, have been far surpassed, both as regards the performance and especially also the work itself, which held me spellbound from the first to the last. The Steigerung is so great and the interest created in the listeners so intense that in the final and most touching scene—Amy Robart's self-destruction by poison—I was so affected that the tears streamed down my eyes, and I can assure you that this effect was not brought on merely by the clever acting and superb singing of Mrs. Klafsky, nor yet by the graphic beauty of the situation, but in the main by the innate tenderness and sympathetic character of Klein's music, which at this moment reaches a noble climax that is simply and absolutely irresistible. * * * It would remain now for me to speak of Amy's last great scene, her dramatic episode and encounter with Varney, and most especially her dying scene and prayer. But of this final scene I have made mention at the outset, and nothing stronger than I said then could I now repeat. It is simply overwhelming, beautiful, touching, inspired and inspiring.—Otto Floersheim, THE MUSICAL COURIER, March 27, 1895.
21American Notices.
23The later scene, where Elizabeth discovers Leicester's devotion to Amy Robart, her rage and Leicester's grief are worked up by the librettist in a succession of climaxes, which Mr. Klein's genius has enforced with an overwhelming power. The death of Amy in the last act is the climax of climaxes, ranging from raging grief to smothered sorrow. Leicester's agony is expressed with soaring inspiration, and the opera ends beautifully, superbly with Trezzian's almost cheerful cry of hope in a future world.—Godey's Magazine, November, 1895.
25The composer has wisely waited with his first dramatic work until his individuality had thoroughly asserted itself. Kenilworth is therefore as individually Klein as Tristan and Isolde is Wagner or Aida Verdi. Then follows one of the greatest ensembles in all music. Amy begins alone: Ja, lasst mich weder ziehn. This earnest, tender strain, uttered by the unfortunate girl from the very depths of her heart, will bring tears to the eyes of many listeners. Elizabeth, Leicester, Sussex and Varney gradually join. The theme swells out more and more powerfully, until the chorus and entire orchestra unite in impassioned, irresistible pleading for the heartbroken Amy. The astounding mastery of technical details cannot fail to impress the musician as much as the inherent beauty and pregnancy of the themes.
27On the strength of this work I do not hesitate to pronounce Klein, with the single exception of Verdi, by far the most talented of all living dramatic composers.—Alfred Remy, The Looker-On, March, 1896.
29Kenilworth is in every respect the work of a master. More intense and infinitely more artistic than Mascagni, Klein gives promise of becoming the foremost dramatic composer of his day.—Vogue, January 9, 1896.
31The Jeanne Franko Concert.
33MISS JEANNE FRANKO, violinist, gave a concert on Friday evening last, the 11th inst., in Steinway Hall, assisted by Miss Celia Schiller, piano; Hans Kronold, 'cello, and Conrad Behrens, basso.
35This was really one of the best and most enjoyable concerts of its scope heard this season. The program opened with Raff's lovely trio (the third) in A minor, played by the Jeanne Franko Trio in a thoroughly musicianly and finished manner. The interpretation was musical, and technically polished and brilliant on the score of each member. We do not remember to have heard a more delightful and satisfying bit of chamber music in a long time.
37Miss Franko herself played the introduction and rondo from the concerto of Vieuxtemps, with other numbers. Her tone was large, her methods broad and fluent, and in the rondo she displayed a good deal of virtuosity. Her bowing is singularly free and graceful, her left-hand work flexible and sure, and her intonation invariably pure. Her cantabile sings smoothly, showing the taste and feeling of a musician, and her staccato is clean and firm.
39Jeanne Franko is a very clever little woman and touches nothing upon which she does not leave the artistic stamp. Her versatility is remarkable, for it must be remembered that as well as being a violinist who appears with equal success in solo or ensemble work she is also a highly intelligent pianist. She has brought together in her Jeanne Franko Trio a most capable organization which has already won for itself a firm artistic position in the groove of chamber music in New York.
41Miss Schiller played delightfully the Chopin nocturne in F, and a cracovienne of Paderewski, the former with most judicious taste and feeling, and the cracovienne with great dash and verve. She plays with admirable technical clarity, and her style is musical and polished. The Chopin embellishments were delicately brought by her clear, sure fingers, nor was the young artist lacking in the poetry which this charming nocturne breathes. Miss Schiller is a young artist.
43Mr. Kronold contributed some numbers of the light and dainty order, in which he has a stronghold, for while he can make his 'cello sing broadly he can also draw from it a tone of delicate quality and phrases of virtuosity such as we are accustomed to with instruments of lighter quality.
45A couple of Schubert's songs by Conrad Behrens, who also gave the big basso air from Don Giovanni, Madamina, served to show that German songs are best sung by German singers. Mr. Behrens sang his Schubert with true feeling, resonant voice and intelligent finish in his phrasing.
47The audience was large and bouquets the order of the evening.
49The Boston Symphony Orchestra.
51THE second concert of the Boston Symphony Orchestra was given last Thursday night in the Metropolitan Opera House. We append the program, particularly commending its make-up. All symphonic concert programs should be prepared in this fashion. The tonality and time beat of every movement are indicated.
53Overture, the Roman Carnival, in A major, op. 9. Hector Berlioz Concerto for violin, No. 2, in D. Peter Ilyitch Tchaikowsky major, op. 35. Allegro moderato. 4-4 Canzonetta, andante, G minor. 3-4 Finale, allegro vivacissimo, D major. 2-4 Scene in the Tavern, Mephisto waltz, from Lenau's Faust. Franz Liszt Symphony No. 2, in C major, op. 61. Robert Schumann Sostenuto assai, C major. 6-4 Allegro, ma non troppo, C major. 3-4 Scherzo, allegro vivace, C major. 2-4 Trio I, G major. 3-4 Trio II, C major. 3-4 Adagio espressivo, C minor. 2-4 Allegro molto vivace, C major. 2-2 Soloist, Mr. Carl Halir.
55As may be seen, brilliancy is the keynote of this scheme, which aptly begins with the Berlioz overture and its swirling staccatello and giddy excitement. The violin concerto has been heard here before, and it has received more amiable and enthusiastic treatment than on this occasion. Mr. Halir, who looks like an untamed Calmuck, nevertheless plays like a schoolmaster. His tone is absolutely devoid of sensuous quality, and in the half savage, Slavic blood stirring last moment he only fiddled, just fiddled. It was not always clean fiddling, and it was without the spark of temperament to fire the fuse and blow us all into dynamic ecstasy.
57The work is difficult and somewhat ungrateful. Halir tore up from the very roots the formidable octaves, double thirds and sixths, but it was all unlovely, uninspiring. He played as an encore piece Bach's familiar gavot in E, and played it very fast.
59Have we not had enough of Mr. Halir, for this season at least?
61One of the most brilliant tone pictures that Franz Liszt ever painted is his Mephisto Walzer. Better even than Berlioz and his famous Ride to Hell in the Damnation of Faust, more satanic than Boito's I Am the Spirit that Denies, infinitely superior to Gounod's well-fed, well-bred
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