Scan 18
Musical Courier 1897-09-15: Vol 35 Iss 915, 1897
71 lines. Read by computer on 21 September 2026. Printed page 19. See the scan on archive.org.
1can rock you in dreamful slumber with the gossamer musical waves that lap the barcarolle.
3In Schumann Rosenthal is a master among masters. The fantaisie, the symphonic studies, the concerto, are his best examples of profound study. The freshness and variety of his interpretations, the recurring delight in his versatility of tone tintings, are few among the factors that make Rosenthal's name a magic one in the domain of music. To the rare acumen of the scholar Rosenthal unites the grace, ease and wit of a man of the world. His well stored brain, his many sided culture, are all ready witnesses, not only to born aptitude, but also to his magnificent methods of study—a study that tells heavily in his playing. It must not be supposed, however, that he is the scholar pianist, lacking in fire, in spontaneity, in dash and brilliancy. No pianist is more brilliant, no pianist so easily masters the decorative side of his art, and yet no pianist can play the Appassionata Sonata with such an inward fervid glow, ripeness of conception, and make such astounding effects in the coda of the last movement.
5In sympathy with all that is modern, Rosenthal has introduced many new and important works to the public. He plays Schytte, Scharwenka and Tschaikowsky with a keen savor of their musical content, and we cannot easily forget the impression he created with Schytte's concerto in C sharp minor.
7Rosenthal, then, as an interpretative artist has been sometimes overshadowed by his reputation as a virtuoso, yet we know of no one better qualified by native talent and strenuous culture for the difficult art of varied interpretations than Moriz Rosenthal, and Moriz Rosenthal is to-day the rarest intelligence that manifests itself on the keyboard of the piano.
9(To be continued.)
11THE FORTHCOMING SEASON.
13WE are on the brink of the season 1897-8. Artists have little more time left than it will take to satisfactorily tune their fiddles, clear their throats and make lissom the fingers which have so much duty before them. The holiday season is practically over. The time is here for girding on the armor for the imminent artistic year, which promises to be one of almost unprecedented activity.
15No longer lists of artists and no greater number of projected concerts have waited on the threshold of any season within recollection. This 1897-8 will be a tremendously busy period, and its course is, to all seeming outlook, destined to be marked by much significant artistic work.
17In this we do not include any schemes for opera. The concert world and its artists furnish sufficiently lavish prospectus for quotation without touching on operatic projects or people.
19The foreign importation announced this season is immense. It is well to emphasize the term "announced," since so many slips are wont to occur in the matter of contracts with these musical people of so many minds, who hail only across an ocean. It seems safe to suppose, however, that the principal artists published will arrive. Pianists, violinists, singers, 'cellists, our favorites of one or more seasons, nearly all return, supplemented by a new contingent of brilliant merit and variety, while our home artists of distinctive merit will be again in the field and heard to just advantage, and it is to be hoped to proper financial return, in some of the most prominent functions which will have place.
21Among pianists come Rosenthal, Siloti, Pugno and Sieveking from Europe. There will then be Constantin von Sternberg, Leopold Godowsky and Paolo Gallico among others of prominence at home. Rosenthal the mighty, the pre-eminent, the world-wonder, returns to pick up the links of the short but glorious chain which he began here last season, but which was broken by his dangerous fever. The piano emperor has completely recuperated, is now in superb condition and will begin this American tour, destined to be a memorable one in the minds of musicians and the history of piano playing, in November. Moriz Rosenthal comes to lay an enduring landmark.
23Pugno is a stranger here, but Europe tells us to wait for a pianist of surpassing delicacy, expressiveness and grace. This artist stands at the head of the French school. His painting is not in oil, but in the tints of the water-colorist, which, however, are not too faint in character, but reveal firmly the lights and shadows of his picture. Anticipation in Pugno's case is made to run high, his touch being esteemed the most exquisite and poetic of his school.
25Siloti is great, to be sure. There will be anxiety and to spare to hear this artist, should he come.
27It is a matter of interesting novelty to find Constantin von Sternberg open his season actively with a series of piano recitals and conversations, for which no man can mutually be better equipped. That Mr. Sternberg will make this combination of effort a feature of progress and success in the season there can be little doubt.
29Ysaye, the greatest artistic idol of the violin, who has played here in years, returns, and returns to a welcome. Henri Marteau, the favorite, both artistic and personal, of an immense clientele, also returns after an absence of a few interesting years at compulsory French soldiering. Then we have Karger, a young German, who carries with him the solid endorsement of both Joachim and Halir. Two violinists of more sympathetic interest to the public at this time than Ysaye and Marteau could hardly have been brought to return in one season. They pique the American palate from different directions in exactly the right degree.
31That young tone poet, Jean Gérardy, returns with his 'cello, and Leo Stern, the accomplished 'cellist who made such a success last season, also comes again. Gérardy will, no doubt, be in trousers by this time, a change of garment in no way interfering with the impressiveness of his early developed power. Gérardy's genius and passionate musical feeling received no added enchantment through knickerbockers. The public would have known him for the soulful artist he was in any garb, and with any statement of age he might declare. He was ripe and reliable, not precocious in the frail, hysterical manner of the over played appearances in short pataconos and infant collars. The gifted Leo Stern will as usual exhale no doubt the eminently popular perfume in America of Buckingham Palace and its related regalities and nobilities.
33But the singers! they are legion. The Henschels, ever welcome, musicianly, finished artists, return. The Henschel combination is too rare for rivalry. Their work, with Georg Henschel's scholarship and intimate genius in song at the helm, is a joy and a lesson at once. To know in all languages and in all schools how a song should be sung, to gain innate understanding of its spirit as of its technical treatment, one should hear Mr. and Mrs. Georg Henschel sing. Their programs, ranging over centuries, are familiar to all vocal musicians, and their appearance in them is an event for congratulation at all times.
35Mr. N. Herlof is bringing over an American débutante in the soprano Mme. Dyna Beumer, whose European reputation gives much to be looked for on this side of the water. The artist has won equal success in England and on the Continent, and enjoys the admiration of many musicians. Plançon of the opera, will be a leading concert feature, a singer whose unfailing success may be built upon, and again one of those whose intelligent vocalization forms a delightful model in the art of song. Nordica is announced. Who knows? The girl from Maine has been ill. France did not care for the immobility of her jaw, although this angular framework managed to grow flexible for Poland. It is too early to talk of Norcica.
37For oratorio especially the return of the basso Ffrangcon-Davies will be cordially greeted. His Elijah alone would keep his memory here an honored one. We are then to meet for the first time in America the prima donna soprano Mlle. Antoinette Trebelli, who has established for herself in Europe the reputation of a great artist, and for whom a pronounced success here is foretold.
39Lillian Blauvelt sings again; so does Clementine de Vere; also Emma Juch. Every other singer or player of note is in the hands of active management, ready to enter the campaign and wage close but honorable artistic fight in the determination to find by public vote their exact place, after a rarely prolific season. The contest is sharp and thick, and the prospect as interesting to the observer of "home" by the side of "foreign," as it is inviting to the ambitious artist who enjoys nothing more keenly than a tense, vital competition.
41From opera ranks there will appear in concert Gadsky, Kraus, Campanari and Fischer. Altogether, the concert room will put forth a prodigal showing. There looms up before us almost an embarrassing richness of music and musicians. Above all hangs the halo of prosperity in encouragingly reliable degree. Artists of all instruments and foremost singers of all types can be heard in the concert room for a figure not spelling bankruptcy, and for which purse strings will doubtless open with supporting alacrity. Taken from the standpoint of the concert room the coming season is a full, satisfactory one, artists of every class and of distinguished merit, both home and foreign, combining to make it one of serious musical value.
43Orchestral music will stand in its customary stand. The same quantity will be provided. Quality does not form a matter of comment in this rapid category of the musical scheme for 1897-8.
45DEFENDING DAMROSCH.
47WILMINGTON, Del., September 6, 1897.
49Editors The Musical Courier:
51Being a constant and devoted reader of your valuable paper, I have read your several recent onslaughts against Mr. Walter Damrosch—"young Mr. Damrosch"—as you please to call him.
53Now I wish you would be a little more explicit, and explain at length why Mr. Damrosch does not receive as much approbation from your editorial columns as of yore. In my humble opinion, and according to the verdict of scores of others, he understands the art of conducting an orchestra as well as any conductor on this side of the Atlantic. You have accused him of being mediocre, a poor program maker, belittled him, &c., such only as an editor can do. I have heard daily his concerts at Willow Grove this summer, and I doubt that there is any other orchestra in the United States that could present daily programs (practically without rehearsal) in better shape than those played by the men at Willow Grove. One day last week there were at least 30,000 people there listening to one of his concerts.
55I have been at resorts where Gilmore, Brooke, Innes and Theo. Thomas have played, and never heard any more satisfaction expressed at their programs than I have at those of Walter Damrosch. Thomas, according to your paper, is a born concert conductor and program maker and a driller par excellence, yet Damrosch has as good an orchestra as Thomas ever had, with perhaps the exception of one or two years.
57Evidently the people of New York did not support Damrosch and his men sufficiently during the opera season to enable them to live in Europe during the summer months, consequently Mr. Damrosch's men, like Mr. Paur's, had to take a summer engagement.
59But as Mr. Damrosch is making $375 per week, that is pretty good pay for a "kid." Better "young Mr. Damrosch" than the superannuated "Philharmonic."
61Now, go ahead, Mr. Editor, and roast foreigners all you can, but don't down ability.
63Yours truly,
64J. L. DASHIELL.
66YES, we agree with Mr. Dashiel in his last remark; better anything than the "superannuated Philharmonic," but there is one saving clause to the Philharmonic Band, and that is Anton Seidl. A great leader may do something with the poorest material, but a poor or mediocre leader will make a muddle of an orchestra of angels. We have been asked why the Philharmonic concerts continue to draw audiences, and we answer: Seidl, Seidl, and again Seidl. If a man of lesser calibre conducted, these concerts would die a natural death in six months.
68But "young Mr. Damrosch" (the phrase is not our own) is under consideration, and we can only reply by saying that there is no disputing taste, and if Mr. Dashiel likes Walter better than Gilmore, Brooke, Innes, Seidl, Thomas, &c., why who shall contravert him, who may dispute his sincere, withal peculiar, taste?
70In the beginning, over a decade ago, we warned Mr. Damrosch of the difficulties of his position, and as he was evidently bent on running things to suit himself we presumed to criticise him. His conducting of Wagner at that time was bad, yet allowances were made for his extreme youth and inexperience. As time rolled by "young Mr. Damrosch" became worse instead of better. He had always a pretty trick of accompanying a singer on the piano, and he
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