Scan 7
Musical Courier 1897-05-12: Vol 34 Iss 897, 1897
42 lines. Read by computer on 24 September 2026. Printed page 8. See the scan on archive.org.
1the frequent repetitions of this work it has become so firmly fixed in the minds of the chorus that, like in England Handel's Messiah, in Berlin Bach's St. Matthew Passion Music is almost sung "by heart." With a little more refinement, especially in dynamic shadings, this reproduction would be an almost ideal one. I surely was much impressed with the portion of the work I could stay to listen to.
3Of the soloists our own young American baritone, Arthur Van Eweyk, stood head and shoulders above his partners. His conception of the utterances put into the mouth of Jesus Christ is noble to a degree, his delivery dignified, and the true Bach style falls easy to him. His voice is fresh and sympathetic. America has not many such baritones as this young American now living in Germany. The soprano, Miss Clara Strauss-Kurzweil, was a newcomer, and quite good; but Dierich, the lachrymose tenor, and the perennial alto, Miss Anna Stephan, belong to the old guard which will neither die nor surrender. The former I don't want to happen, but the latter would by no means prove a calamity. Concertmaster Witek performed the violin solo in the great contralto aria of the second part most admirably and exquisitely.
5The Berlin police had been especially strict in their regulations this year about concerts to be allowed on Good Friday. The programs had to pass Censur beforehand, and for a soloists' concert which took place at the Philharmonie that same evening the police struck out—the romanza in F for violin, by Beethoven. This sounds hardly credible, but it is true nevertheless. The music critic on the police department evidently is no Beethoven crank. Concertmaster Bleuer, who was to have performed this number on the program, substituted Bach's air on the G string, the word air disguised under the title of adagio, lest the police might take umbrage at the "air," which is not always free here in Germany. Then, when the audience were wildly clamoring for an encore, Bleuer gave them—the Beethoven romanza in F, and thus the police were fooled after all and everybody was happy.
7The following letter, received from Mr. Charles Joseph Dyer, the Worcester (Mass.) baritone, is very interesting reading generally, and especially so to the many friends of those charming and talented young American songstressses, the Misses Olive Fremstad and Marion Weed. I therefore reprint it in its entirety, mentioning at the same time that the opera Die Hallinger, of which Mr. Dyer speaks, has since passed through a very successful first representation at Cologne.
9Cologne. April 13, 1897.
11Dear Mr. Floersheim—Since leaving Berlin I have been a few days in Dresden, hearing voices in different operas that should have a more careful orchestra—in other words, more worthy the Berlin orchestra than those there, with one or two exceptions. On my way here I stopped and walked about the grand Eisenach hills and through a former "Comandant," saw the Elizabethan rooms and attended a very impressive memorial service for the Grossherzogin. Whatever one may believe, there are times when association helps out natural sentiment, and one of those times was in the old early Gothic chapel, where Ein Feste Burg filled it and rolled out in the halls leading to the Saengerhalle. There was the village choir and they joined in the chorale till it seemed almost as if burly Martin's spirit was still fluttering about. Do you know if he wrote the chorale there, and if it was first used there?
13This, however, is not what I am writing for, but to tell you of Olive Fremstad and Marion Weed. Olive is without humbug the best in her line I have heard for years. Her voice is superb, as full and rich as ever and malleable in every part. Unfortunately I can't see her Carmen, as I leave to-morrow; but everyone speaks of it as a "creation" and "as wonderful as Bellincioni's" (good enough for me). Weed I heard last night as the Countess in Figaro. She sang finely and has improved in acting. She will get there. I told them I should send you word of their work in Die Hallinger (a new opera of which I heard rehearsal to-day). It's an intensely dramatic three act work, full of melody and Wagner spirit and yet original. I was immensely pleased with it, and the girls are perfect in their parts. Olive as the Mother has some very telling solos, where her beautiful chest tones simply flow over the stage and drop—no, fill the opera house. The first night is to be Thursday, I think.
15I'm not always an enthusiast, but these fresh voices here, the fresh opera, and the pleasant times I've had, have braced me up once more to the belief that vocalization still exists.
17Weed goes again to Bayreuth, but Olive will rest after a little "guesting" in Amsterdam and other cities. She ought in a year or so to have the best mezzo position to be found. I was sorry not to have seen you to say good-by. I am off for England to-morrow. You should see the wreaths and presents Olive's Carmen has earned her. She is such a grand girl besides. Keep up that waiting you've had on her. This is my last letter in Germany. Good night and regards from Very truly yours, CHARLES JOSEPH DYER.
19Oscar von Chelius' one act opera Hashish, which is to have its Berlin première next Thursday night.
21***
23My faithful assistant, Leonard Liebling, has left Berlin for Stockholm, whence he writes me: "I love Stockholm. It is not unlikely now that I shall spend the summer here. I contemplate writing a novel dealing with Berlin's musical life. Look out! I shall not leave here before I have finished it."
25***
27From Bayreuth, by way of Vienna, comes the startling information that Siegfried Wagner has just finished the composition of a comic opera in three acts. It is described as being in the nature of Nicolai's Merry Wives of Windsor. Well, accidents will happen in the best of families.
29***
31The latest direct news from Bayreuth is to the effect that Anton Seidl and Felix Mottl will alternate in the conducting of the eight Parsifal performances to be given next summer, and that Hans Richter will conduct two and Siegfried Wagner one of the Nibelungengring cycles. The cast for the Ring will be as follows: Brunnhilde, Frau Ellen Gulbranson, from Christiania; Sieglinde, Frau Rosa Sucher, Berlin; Fricka, Frau Brema, London; Erda and Waltraute, Frau Schumann-Heinck, Hamburg; Gutrune, Frau Reuss, Wiesbaden; Freia, Miss Marion Weed, Cologne; Siegfried, Herr Burgstaller, Bayreuth, and Herr Gruening, Hamburg; Wotan, Herr Perron, Dresden and Herr Rooy, Rotterdam; Siegmund, Herr Gruening, Hamburg, and Herr Vogl, Munich; Loge, Herr Vogl, Munich; Alberich, Herr Friedrichs, Bremen; Mime, Herr Breuer, Breslau; Hagen, Herr Greef, Frankfort; Fafner, Herr Elmbad, Breslau; Fasolt, Herr Wachter, Dresden; Gunther, Herr Stury, Darmstadt; Hunding, Herr Greef, Frankfort; Donner, Herr Bucksath, Schwerin; Froh, Herr Burgstaller, Bayreuth, and Herr Ankenbrank, Mannheim; Rhinedaughters, Nornen and Valkyries, Miss Von Arnter, Hamburg; Frau Geller-Wolter, Magdeburg; Miss Gleiss, Dessau; Mrs. Schumann-Heinck, Hamburg; Miss Heiser, Stuttgart; Miss Kempees, Amsterdam; Miss Materna, Mayence; Miss Pazofsky, Cologne; Miss Plaichinger, Strassburg; Miss Weed, Cologne.
33The casts for Parsifal are as follows: Kundry, Mrs. Brema, London, and Miss Von Mildenburg, Hamburg; Parsifal, Herr Van Dyk, Vienna, and Herr Gruening, Hamburg; Gurnemanz, Herr Greeng, Vienna, and Herr Wachter, Dresden; Amfortas, Herr Perron, Dresden, and Herr Van Rooy, Rotterdam; Klingsor, Herr Friedrichs, Bremen, and Herr Stury, Darmstadt; Titurel, Herr Fenten, Dusseldorf; Soloknappen, Miss Mulder, Riga; Miss Hoefer, Munich; Herr Scheuten, Cologne; Herr Froncek, Bremen; Solotitter, Herr Ankenbrank, Mannheim, and Herr Bucksath, Schwerin; Flower Girls, Misses Gleiss, Kempees, Materna, Mulher, Pazofsky, Plaichinger and Ritter.
35***
37Tamagno, who is making a big hit at the Paris Grand Opera, may also be heard at the Berlin Royal Opera House next month, when he will undertake a tournée through Germany. The price asked for Berlin is 6,000 frs., viz., $1,200 a night, which is rather steep for Germany, and if the engagement is really made prices for admission will have to be raised in order to insure anything like a financial success for the intendency.
39It is also rumored that next fall we shall hear at the Royal Opera in a short Italian stagione the singers whom you have just dismissed, Messrs. de Reszke, Lassalle and Madame Melba. They will have to come down considerably, though, from their American money demands if they expect the engagement to be perfected.
41The next novelty at the Royal Opera will be Rittmeister
The computer misreads some letters and numbers. Where a name matters to you, read the scan.