Scan 6
Musical Courier 1896-12-16: Vol 33 Iss 876, 1896
111 lines. Read by computer on 26 September 2026. Printed page 7. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1THE MUSICAL COURIER.
3LEIPZIG
5LEIPZIG, November 20, 1896.
7THE first of the Gewandhaus series of 1896-7 opened auspiciously recently, with a program embracing Schumann's Manfred overture, aria from Gluck's Alceste, overture Leonore, No. 3; songs of Dräseke, Franz and Schubert, and the symphony in E flat by Schumann. Soloist Frau Wittig, from Dresden; conductor, Arthur Nikisch.
9In the personnel the orchestra has changed little, but in results it has advanced decidedly. Why? Because there is a real executive and gifted head of affairs in the person of Arthur Nikisch.
11The patrons of the public rehearsal and concert are quite different in point of appreciation, for at the rehearsal the real musical element of Leipsic can be found, in addition to all conservatory pupils, and many students from the university.
13At the concerts the Rip van Winkle element prevails to the degree of outdoing that sleeper by snoring, and during their moments of wakefulness one is compelled to listen to business discussions and an occasional remark about "unseres orchester." This "unseres" is a Leipsic heirloom, which is supposed to express everything of any consequence, and some of the old members of "our orchestra" should study this word carefully, and sustain its definition by resigning from active work, for which they are no longer fitted.
15Of the performance it is but necessary to say that it was as satisfactory as one could wish, considering the amount of work accomplished in weeding out old and detrimental matter which existed a year since.
17The Manfred overture never gives me any real pleasure, for it is too dreary, whereas the Leonore No. 3 came like a bright picture and as a tonic to the senses in the superb performance which was accorded it. I have yet to hear this overture when the trumpets in the distance are in exact pitch. They always seem a trifle flat, owing to the difference in temperature.
19The symphony (Rhenish), with its delightful, locally colored scherzo, again formed food for contrast with other performances during the past, in being faultlessly given, which was marred somewhat by several of the sleeping contingent who woke up toward the end, and at once started for the exits—truly music lovers indeed.
21Frau Wittig is essentially a dramatic soprano, and as such was very acceptable in the aria from Alceste, while in the lyrical direction she was not to my taste.
23A new Philharmonic orchestra, under the direction of Hans Winderstein, has been organized here, and I attended its first symphony concert.
25It would be unfair to expect absolute finish from a body of instrumentalists who have only rehearsed for six weeks, but the program was ambitious and generally speaking one may look forward to excellent results as the season advances.
27In the Euryanthe overture both the conductor and his men were nervous, which wore off when that veteran, Jean Nicodé, took them in hand, to conduct the introduction to his own Symphonic Ode. Why Nicodé keeps so quiet in the matter of new works is difficult to understand, for as a technician he stands in the front rank of modern composers.
29Heinrich Kiefer, who is the first 'cellist of the orchestra, played Volkmann's concerto with good effect and excellent technic, but what I have heard about him being the equal of Klengel was not proved by this performance.
31Violoncellists will persist in their technical displays upon an instrument which is not adapted to the forms of violin virtuosity, to the exclusion of broad cantilena passages, in which last Kiefer did not display a high order of musical intelligence.
33Frau Staudigl, from Berlin, sang delightfully in songs of Löwe, Beethoven, Brahms and Mottl, and the concert closed by a spirited and careful performance of the Eroica symphony, therefore everybody went home satisfied.
35November 27, 1896.
37At the second Gewandhaus concert Liszt's Faust Symphony was the important feature, and in view of the fact that this work has been heard a number of times in this city through the efforts of Professor Krause, of the Liszt Verein, it is peculiar that several overlooked this in saying that this symphony was but little known here—perhaps it was its first performance at the Gewandhaus, and more is the pity. I have heard Nikisch do great things since he came to Leipsic, but he never equaled the result which he obtained at this performance, as every nuance was as clear cut and defined as the most critical could wish, and I look forward to the time when the Dante of Liszt will also receive a like rendition.
39Anton Bruckner's Adagio from his Seventh Symphony figured on the program in respect to his memory, and gave me an opportunity of hearing this ponderous tone creation for the first time, and from a single hearing it is impossible to correctly analyze its interminable contrapuntal treatment, and will therefore defer further comment until I hear the entire work.
41Volkmann's Serenade was as dainty as ever, and afforded abundant proof that Julius Klengel as a violoncellist is still a long way ahead of other aspirants for first honors as master of his instrument.
43On Friday I went to the Liszt Verein and was agreeably impressed by Klughardt's C minor symphony, which I heard in New York some years since at a Philharmonic concert. This composer says things in a direct and forceful manner, coupled with a sound academic insight of form and measured effect; his instrumentation is full and varied, though always clear, and as a conductor he knew how to gain his results, both in the symphony and his overture to Spring, which well merited the applause bestowed upon him.
45Miss Poinparé is a very youthful pianist from Brussels, and played Beethoven's G major concerto with abundant technic and clarity, but what she lacks is control, and has yet to learn the relative value of tempo and refusing demands for encores.
47Robert Kahn was present, and played the accompaniments to his six songs, and to the careful, though not always agreeable, singing of Frau Hernes—the compositions are all gems in their way.
49The performance of Goldmark's Cricket on the Hearth was a novelty at the opera, and though I always do violence to my feelings in going there it is the best which is available. Mr. Floersheim has written sufficiently in reference to this work, with its English story and German music, and what he has said quite agrees with general opinions, that one could expect a better result from the composer than he has attained.
51The singing and general ensemble were in keeping with the Leipsic traditions in that there was not always successful attempt at either. Fräulein Kernic as Mrs. Dot was not as reliable as usual, and Miss Osborne ("our own Addie," as the American residents playfully refer to her) has been enjoying a vacation at her home in Buffalo, and the good living and home comforts have enlarged natural curves to the degree of interfering with her sprightliness. A tenor whose name is Kraemer had a try at the part of Edward, and failed dismally, and his make-up, which was the German idea of a sailor, consisted of a pair of riding boots and an Illinois chin whisker, which certainly disguised him sufficiently that even Dickens himself wouldn't have recognized him. Toward the close of the opera everybody pulled themselves together and hurried up, as the orchestral players looked tired and unusually thirsty.
53ALVIN KRANICH.
55Rome.—At a late concert at the rooms of Professor Wichmann, of Berlin, the Queen's Quartet, conducted by Pinelli, performed Wichmann's quartet in F major and quartet in C major with great success. The violinist was Concert Master Monachesi.
57opera, Ratbold, recently met with such phenomenal success at Mayence, and who will give a concert with a program of his own compositions at the Philharmonie in the near future. César Thomson will then perform Becker's violin concerto, and Mrs. Nicklass-Kempner and Louise Geller, as well as Scheidemantel, the Dresden baritone, will be heard in vocal soli.
59***
61The most interesting of my visitors last week was a boy ten or eleven years of age. His name is Francis Rea McMillen, and he is son of the editor of the Springfield (Ohio) Daily Democrat. The boy's looks are those of the professional wonder child, in dress as well as in long hair, but he soon succeeded in dispelling any suspicions which this appearance had aroused in me. He is really a little artist, and I believe he is going to be a big one. He plays the fiddle well, the piano not badly, considering that he has had only one year's lessons on the latter instrument, and he has also some talent for composition. The boy was accompanied by his mother, and his piano teacher, Miss Clara Krause, who takes a great personal interest in her talented pupil.
63Miss Adelaide Kellogg came to tell me that she will return to Vienna to study with Leschetizky, if she can get lessons from him personally, and not from one of the Vorbereiters, which, to judge from her recent Berlin performances, I am very much inclined to doubt.
65O. F.
67CONCERT NOTES.
69Mrs. Esperanza Kisch-Schorr gave a recital at which she played quite an ambitious program, including such works as the Bach-Tausig Toccata and Fugue, and the op. 53 Sonata by Beethoven. Mrs. Schorr possesses a musical nature which she well understands how to transfer to her finger tips. Her tone is small but sympathetic, and her technic, while not finished, gives promise of better things to come. She lacks energy.
71***
73Miss Poddie Ross, from Davenport, Ia., gave a concert with orchestra. She sang Ah fors e lui, from Traviata; valse from Romeo and Juliet, aria from Il Ke Pastore, Mozart, and the Bell song from Lakmé. She is a pupil of Sylvester, in Dresden. It is difficult to take Miss Ross seriously, for, although she is possessed of an astonishingly fluent coloratura, and a remarkable natural trill, she nevertheless sings with a lack of dignity, earnestness and warmth.
75***
77Slivinski gave his last recital in Berlin. The American girls are inconsolable. Luckily Duse plays to-night in Camille, so they have a splendid opportunity for the working off surplus emotion. Slivinski was nearly buried under big bunches of violets, floral horseshoes and laurel wreaths. His room at the Monopol Hotel is a bower of costly flowers. He added five pieces to the regular printed program of last night.
79***
81The writer attended a rehearsal of Miss Jessie Shay's concert. She has engaged the Philharmonic Orchestra and intends to play the Henselt F minor concerto, and Paderewski's Polish fantasia. She is a delightful, fascinating artist, who must and will make a hit. Her large conception and performance of the Henselt composition quite astonished the writer. Mr. Alexander Lambert's talented pupil need have no fear of Berlin critics. The latter jaded set does not often hear such invigorating, breezy piano playing as Miss Shay's.
83***
85Miss Amalia Rippé, from New York, sang at a Sunday night Philharmonie concert. She did not do herself justice. Bach-Gounod's Ave Maria sounded well, but a group of small songs by Grieg, Brahms and Franz were sung rather listlessly. She had a cold, and besides was compelled to learn the songs in one or two days. Under the circumstances more could not be expected. Her voice quite filled the tremendous hall. LEONARD LIEBLING.
87Loewe Monuments.—Monuments to the composer Löwe were unveiled November 30 at Löbejün, near Cötter, Stettin and Kiel.
89WILLIAM LAVIN.
90TENOR.
91In America Season '96-97.
92SOLE MANAGEMENT:
93H. M. HIRSCHBERG'S
94MUSICAL BUREAU,
9536 West 15th St., New York.
97MME. D'ARONA,
98PRIMA DONNA.
99Voices developed from foundation to stage.
100Analytical and synthetic special courses (with diploma) for teachers and professionals.
101Grand Opera in German, Italian, French and English.
102Oratorio, Concert, Church, &c.
103124 East 44th Street, NEW YORK.
105ALBERTO JONÁS,
106The Renowned Spanish Concert Pianist
107ADDRESS:
108Steinway Hall, New York,
109or University of Michigan,
110Ann Arbor, Mich.
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