Scan 6
Musical Courier 1896-12-23: Vol 33 Iss 877, 1896
103 lines. Read by computer on 25 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.
3to employ his fine high baritone voice in cantabile passages, and his energetic physique in those moments in which sword and action alone seem to be the solution of the riddle of his life. When I add that Rudio, bass, was well represented by Koehler, and the Emperor sung by Herr Freibier (promising name, that), nothing remains to be said except that the chorus sang extremely well, and that the decorations, as well as all other stage business, had been carefully and effectively prepared.
5Maelhodler led the work with his accustomed cleverness and enthusiasm. The orchestra, at moments a trifle obstreperous, otherwise did very well with the difficult music.
7The opera, which in all its dramatic intensity gives a chance for beautiful singing to everyone in the cast, and which contains a clever bit of composition in the great evening prayer (the finale of the first act), by the employment of a basso ostinato, B flat, G, C and E flat (the sounds of the convent bells), is to be repeated twice this week at the Cologne Opera House.
9I spent Sunday at Cologne, among old friends, and met among others Richard Strauss, who had just come from Frankfort, where he had conducted his latest work, Thus Spake Zarathustra, at the first performance, and had, as he told me, achieved a success.
11Strauss is a very modest man, and does not like to talk about himself; still he was full of his latest creation, which he is to conduct at Cologne to-day and which I heard here in Berlin under Nikisch at the Philharmonic concert last night. The composer gave me an explanation of his newest work, which does not quite tally with the several analyses that so far have already been published about it, but which gave me the clue to the whole. He said to me about the following:
13"I did not intend to write philosophical music, nor to portray Nietzsche's great work musically. I meant to convey musically an idea of the development of the human race from its origin, through the various phases of development, religious as well as scientific, up to Nietzsche's idea of the Ubermensch. The whole symphonic poem is intended as my homage to the genius of Nietzsche, which found its greatest exemplification (he used the German word Bethaetigung) in his book Thus Spake Zarathustra." This explanation of his work brought its understanding at one bound nearer to me than volumes of commentaries by Dr. Reimann and his ilk could or would have done. Late in the afternoon Richard Strauss, at the home of Prof. Wuehler, made an attempt to play the most complicated score so far ever compiled by any composer—upon the piano. It was of course only a sketch, and could not be anything else, even if Strauss were a Liszt.
15As I said before, I was back in Berlin in time to hear Zarathustra last night, under Nikisch, and the effect which the work created in an admirable performance was an indescribable one. Not considered as program music at all, but as absolute music, I do not hesitate to call it the grandest orchestral score that has ever been penned by mortal. This is a strong statement, but I make it with forethought and intent. Thus far Strauss has in each succeeding orchestral work surpassed its forerunner. Who knows what he may still give us? Whatever it may be, I doubt whether in a technical way it can surpass Zarathustra. The opening of this work, built upon the lowest note, C, of the organ, enforced by the contra bassoon and a roll on the big drum, upon which bass the first theme is given out by four trumpets, is of elementary power and, despite its utmost simplicity, of unsurpassed and overwhelming grandeur and effectiveness. The different episodes of the work, which form one symphonic, coherent whole, and last about thirty-five minutes, are described in the score as Von den Hinterweltlern, Von der grossen Sehnsucht (this is very striking), Von den Freunden und Leidenschaften (the latter quite Tristanian), followed by Von Wissenschaft, which science is represented by a five part fugue and Der Genehrende. The close of the work is the only thing in it that does not satisfy me. It is the musical exemplification of an eternally unsolved question mark. A war between the two principal keys of B major and C major that predominate in the work, and which war remains undecided. The violins give the B major chord in the highest positions, and under it the double basses answer with the contra C. There is no harmonic solution, and no resolution of this harmonic enigma. I don't know what to make of this close.
17So deep was the impression created by Zarathustra that the audience remained silent for a few seconds after the end, and then broke out in tempestuous and long-lasting applause, which remained unbroken by opposition. The Berlin critics, however, are vastly at variance in their estimation of the work. Nikisch did wonders with the Philharmonic orchestra in this most difficult and most intricate of scores. One thing is certain—the success was so great that Zarathustra will be repeated during the course of the season.
19The remainder of the program brought out in orchestral works the charmingly performed D major symphony (No. 2 of the B. & H. edition) of Haydn, and "by request" the Tannhäuser overture, with which Nikisch scored a repetition of his sensational success based mainly upon that horn second voice (given out by six horns) which Jungnickel can't find in the score. I was not one of those who had joined in the "request," for the program was, as usual, much too long, and the Tannhäuser overture in concerts needs a well earned and much needed rest.
21The soloist of the evening was the once famous pianist Sofie Menter. She did not secure a great success, and in fact made very little impression. It is too bad we are all growing old, but then that's the law of nature. Only people should know when it is time to stop, and many don't seem to be able to comprehend this, among them Sofie Menter. She played the Beethoven E flat concerto like a prim old maid, stiffly, disjointedly and without force or poetry. In the first movement she made several changes which were neither Beethovenish nor particularly pleasing or effective. The close of the slow movement she played in slight gallop tempo, and the rondo was rhythmically bad. The tone, despite the fact that she played upon a superb Steinway grand, was weak and dry.
23The next program is made up of Schumann's Manfred music and the Beethoven Ninth symphony.
25Four Americans performed Haydn's Emperor Franz string quartet at the last Sondershausen conservatory pupils' evening. They were Alfred Spiel, from Detroit; Bernard Sturm, from Cleveland; Theodore Rentz, from Pittsburg, and Julius Sturm.
27In Kiel the Karl Loewe monument was unveiled on the centenary of the great ballad composer's birthday, in the presence of his only surviving daughter, Mrs. von Bothwell.
29The death of William Steinway, the noblest, biggest hearted and most liberal musical Mecenas that ever lived, is a sad blow to his many friends and admirers in this country. The German papers, foremost the Berliner Tageblatt, contain long and appreciative obituary notices of the deceased. Many of the young American music students here have lost their supporter, and will be in distress if there are no provisions in the will to continue his generous aid after his demise, or if the heirs should not feel it incumbent upon themselves to carry out any further the deceased's plans of assistance to others.
31Personally I lose in William Steinway the truest, most trusted and most trustworthy friend I have ever found in the path of my life. I shall cherish and hold sacred his memory as long as I live.
33***
35Callers at THE MUSICAL COURIER'S Berlin offices last week were Miss Jessie Kimball and Mrs. Lovering, from Boston; Charles Joseph Dyer, from Worcester, Mass.; E. Albert Witte, editor of the New Yorker Signale, who intends to settle down in Vienna; Prof. Jedliczka; Mr. D. D. Dexter, of New York; Leo Stern, the English 'cellist, who made a success at the Gewandhaus in Leipsic, and who will play here before Emperor William in a few days. Mr. Stern then leaves for the United States, where he is to make his début in January in Chicago; also Mrs. Mary Howe-Lavin, and her brother, Lucien Howe, on their way to Stettin, where our fair coloratura singer will guest in opera next week. I also met Morris Reno, busy man and manager, from New York.
37O. F.
39Recital at Cook Academy.—A delightful piano recital was given at Cook Academy, Montour Fall, on December 9 by Miss Cora Eleanor Luer, with the assistance of Mrs. Sidney Decker, soprano, and Mr. John K. Roosa, violinist, both of the academy musical faculty, with Miss Alice Jane Roberts and Mr. Edwin Randall Myer at the piano.
41Tapping-Jewell Song Recital.—These ladies, pupils of the well-known teacher Ernst Catenhausen, gave an enjoyable recital in Steinway Hall Monday evening. Mrs. Tapping has a brilliant, clear soprano, and was particularly happy in two songs by Nevin. Milwaukee, Wis., should be glad in the possession of such a singer. Miss Jewell showed that she is rightly named, for hers is a gem of a contralto voice, displayed to excellent advantage in Thomas' Summer Night. Together the ladies sang some pretty duets, a lullaby by Mr. Catenhausen especially well, Miss Beach also assisting in two trios.
43A Pupil of Tecla Vigna.—The pupils of Mme. Tecla Vigna, of Cincinnati, are fast bringing the reputation of their admirable teacher into greater prominence. The following is a brief extract from a notice of some length:
45Another Cincinnati soprano has received deserved recognition in Indianapolis at the recent first concert of the orchestra there. The Indianapolis Journal, of last Wednesday said: "The soloist of the evening was Miss Elise Dorst, of Cincinnati, a pupil of Tecla Vigna. Her first aria was the celebrated one from The Queen of Sheba, by Gounod. In her second part of the program she gave a bolero, by Verdi. The latter was a gem and an artistic bit of vocalization. Miss Dorst is one of the most pleasing singers who has appeared here for some time."
47Mlle. Rita Elandi (Amelia Groll), the singer who is making a great success in Wagner rôles, is also a pupil of Mme. Tecla Vigna.
49JOSEPHINE S.
50JACOBY,
51CONTRALTO.
52Concert and Oratorio.
53ADDRESS:
54MUSICAL AGENTS,
55OR
56154 West 84th Street,
57NEW YORK.
59Miss AMELIA
60HEINEBERG,
61Concert Pianist,
62Pupil of Prof. HEINRICH BARTH,
63Berlin,
64For terms, dates, etc., address
65No. 259 West 113th Street,
66NEW YORK.
68Mary H. Mansfield,
69SOPRANO.
70ORATORIO, CONCERT AND SONG RECITALS.
71For terms, dates, etc., address 118 W. 13th St., New York.
73Louise St. John Westervelt,
74COLORATURA SOPRANO,
75Concerts, Recitals,
76Musicales,
77Sole Direction H. M. Hirschberg
78Musical Bureau,
7935 West 13th St., New York.
81GEORGE W. FERGUSON,
82BARITONE.
83American Tour until January 15, 1897.
84For terms, dates, &c., address
85BROWN & WELD, Steinway Hall, Chicago, Ill.
87ESTHER
88HIRSCH,
89CONTRALTO.
90CONCERT AND ORATORIO.
91For terms, dates, &c.
92WOLFSOHN'S MUSICAL
93BUREAU, 131 East 17th Street, or
94327 Amsterdam Avenue,
95NEW YORK.
97ARTHUR J.
98HUBBARD
99The Eminent Authority on all matters pertaining to the Art of Singing.
100Voice production, Concert, Church, Oratorio, Teaching and Opera. Certificates given to qualified teachers. Opera class taught dramatic action. Stage Practice, Public Performance, etc.
101149A Tremont Street,
102BOSTON.
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