Scan 18
Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
92 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 19. See the scan on archive.org.
1Mrs. H. E. Krehbiel, soprano; Miss Lotta Mills, piano, and a quartet of female voices from the college students.
3CINCINNATI, October 30, 1897.
5The musical event of the past week was the Seidl concert on Wednesday evening, October 27, in Music Hall. When the ladies of the Orchestra Association nearly three years ago decided that Cincinnati should have a permanent orchestra, and cast about for a conductor, Mr. Seidl was one of three conductors invited to this city to give a series of trial concerts. One object was to ascertain how much of a nucleus there was for the organization of an orchestra, and the other to select a conductor for this orchestra.
7With the best wisdom possible, considering all the circumstances, the association selected Mr. Van der Stucken, the present incumbent. But Mr. Seidl left an impression of his wonderful personal magnetism. He has been here with his orchestra since that time, but on last Wednesday night he appeared to have about his head the halo of the success of the last Bayreuth Festival. It was his personality that asserted itself through the orchestra. If there is such a thing as the soul of music Mr. Seidl has appropriated it, and knows how to communicate it to the men under his baton. The orchestra is not large, but is altogether well proportioned in its divisions and of good quality. This is not striking, but what is striking is that Mr. Seidl can bring so much out of it—by dint of his genius.
9It is after all the divine spark, which very few even among the most prominent conductors possess. There is nothing mechanical about Mr. Seidl's conducting. It is with him a question of speaking soul to soul. Some have claimed that Mr. Seidl is a specialist, and that outside of Wagner, where he enjoyed exceptional opportunities of receiving the traditions, he is stiff, conventional and unsatisfactory. This must be the shaft of jealous competitors, that is all. Mr. Seidl is a musician of the broadest type, and the Cincinnati program with its execution would stamp such a statement as a ridiculous falsehood. Outside of the prelude to the "Meistersinger," which was given with remarkable clearness in the rhythmic periods, there was nothing of Wagner. The numbers were as follows: "Slavic Rhapsody, No. 2," Dvorák; "Pilgrim March" from "Harold in Italy," by Berlioz; Präludium, Andante, Fugue, by Bach, with Mr. Seidl's orchestration; the Saint-Saëns piano concerto; G minor, and the "Symphonie Pathétique," B minor, Tschaikowsky.
11The latter colossal work with its marvellous tone coloring, its tremendous contrasts and passionate vehemence of sentiment was given an interpretation worthy of the composer's thought. From beginning to end the performance breathed inspiration. Mr. Seidl pays attention to detail, but never to mechanical detail. He controls his orchestra and holds them to the spirit of the music. This may be called magnetism, but there is a wonderful amount of musicianship required to make it so. His reading of the "Pilgrims' March" was as delightful, delicate and artistic as a transformation scene. The ensemble of the orchestra in the Bach number could well be compared to the compactness of an organ tone. But it was in the Saint-Saëns Concerto that Seidl particularly proved the mettle of his orchestra. Its support of the pianist, Mme. Julie Rivé-King, was superb.
13Mme. Julie Rivé-King had not been heard here for many years, and as she spent considerable of her artistic life in Cincinnati and there is still a sort of home feeling for her in this city, much expectation was raised in the audience, numbering many of her admirers and friends, concerning her playing. The result was a complete triumph for the great pianist. Her reading of the Concerto was the realization of high art by way of finish and brilliancy. Her technic is marvellously clear and sure. Her dynamic force would remind one of Rubinstein or Carreño. At the same time she has a poetry and delicacy in her execution that never fail her. In her the virtuoso and musician seem perfectly balanced. With all the brilliancy of her playing the musical thought is never lost sight of, but rises supreme out of the technical difficulties. There is heart as well as intellect in her work. Mme. Julie Rivé-King may well be considered as one of our greatest pianists of the present day. As an encore she played with exquisite grace and delicacy a Nocturne by Chopin.
15A concert given by Victor Herbert's band, in Music Hall, on Tuesday evening, October 26, was a creditable success. Mr. Herbert aims to be classic as well as popular and there is an educational trend in his programs. He is a thorough musician, a composer of ability, and a performer on the 'cello of rank. He conducts in a scholarly, musicianly manner, with energy and dignity. The idea of simplicity and thoroughness prevails throughout his work, and these characteristics are stamped on the band as a whole. Miss Marie Donavin, soprano, made a favorable impression. She has a light voice, with a good deal of coloratura capacity.
17The Orchestra Association has announced complete programs for the first three Symphony concerts as follows:
19FIRST AFTERNOON AND EVENING CONCERT.
20Symphony in C major, No. 2 ………………………………………Schumann
21Scene and aria, Der Freischütz ………………………………………Weber
22Madame Gadsky.
23Symphonic poem, La Jeunesse d'Hercule ………………………..Saint-Saëns
24Aria, Tannhäuser …………………………………………………Wagner
25Madame Gadsky.
26Night of Spring …………………………………………………Van der Stucken
27Overture, Masaniello …………………………………………….Auber
29SECOND AFTERNOON AND EVENING CONCERT.
30Symphony in B flat, No. 4 ………………………………………Beethoven
31Prelude, The Vikings …………………………………………….E. Hartmann
32Pol Plançon.
33Cavatine ………………………………………………………..P. Gilson
34Fantasy on Canadian Airs ………………………………………Pol Plançon.
35Overture, The Merry Wives of Windsor ………………………..Nicolai
37THIRD AFTERNOON AND EVENING CONCERT.
38Suite No. 3 …………………………………………………….Tschaikowsky
39Concerto in F minor ……………………………………………..Chopin one of two readings
40Concerto in F minor …………………………………………….Chopin one of two readings
41Rich-rd Burmeister.
42Interlude (Andante Religio-0) …………………………………….F. Klose one of two readings
43Interlude (Andante Religio-0) ………………………………….F. Klose one of two readings
44On the Waters (from Jason) ………………………………………Mackenzie one of two readings
45On the Waters (from Jason) …………………………………….Mackenzie one of two readings
46Scherzo, Wallenstein's Lager …………………………………….Rheinberger
47Richard Burmeister.
48Overture, William Tell …………………………………………..Rossini
50The dates of the concerts are November 19, 20; December 3, 4, 17, 18, 31; January 1, 14, 15, 28, 29; February 11, 12, 25, 26; March 11, 12, 25, 26. Other soloists engaged are Ysaye, Mrs. Josephine S. Jacoby, M. Jean Gérardy and Alexander Siloti.
52Dr. N. J. Elsenheimer called upon Anton Seidl last week and received from him a very high compliment on the character and excellence of a dramatic overture which he has just finished. Mr. Seidl pronounced it a composition embodying the principles of the modern school of composition, with ingenuity and talent in the orchestral treatment. Mr. Seidl will give the work a first hearing at one of his concerts in New York.
54Signor Pier A. Tirindelli, of the Auditorium School of Music, has composed a new operetta for the vocal class of Signorina Tecla Vigna. Its name is "Blanc et Noir," and the libretto in French came from the facile pen of Madame Fredin. Her talented daughter, Aline Fredin, translated it into good and readable English. It will be given for the first time in the Auditorium at the Odd Fellows' Temple some time during the holidays. The plot is a simple one. Pierrette has two lovers—one of them is Pierrot (Le Noir) and the other Pierrot (Le Blanc). Both receive invitations to meet the coquette, who advises them to cast lots for her, when they begin to quarrel about her possession. Le Blanc gets the lucky ballot. Hereupon Le Noir offers an insult to his successful rival. They quarrel, and in the wrangle Le Noir is killed. The finale is the union of Pierrette with her lover. The music is bright, fresh and well worked out to suit the text. It abounds in dramatic climaxes and beautiful ensemble music. The operetta was dedicated by the composer to Mascagni.
56J. A. HOMAN.
58Carl's Recital.
60THE seating capacity of the "Old First Church" at Twelfth street and Fifth avenue was inadequate to the accommodation of the audience that assembled there at the inaugural recital of the well-known organist, William C. Carl, on Friday afternoon, October 29. So much has been said and written of Mr. Carl, and his reputation is such that comment upon his playing is now almost unnecessary. The program was well selected and of more than ordinary interest, because of the number of new compositions thereon.
62Many of these were dedicated to Mr. Carl, who played them with his usual rhythmic precision and taste in registration. Miss Hilde, one of the assisting artists, sang the "Prayer" from "Werther," by Massenet, in her full, rich voice, with breadth and musical intelligence. In spite of the fact that the audience was requested to refrain from applause, a spontaneous burst of enthusiasm greeted Mr. Franz Kaltenborn's violin solos, the "Perpetuum Mobile," by Franz Ries, being played with superb dash and brilliancy. On next Friday, November 5, Mr. Carl will be assisted by Mrs. Antonia Sawyer, contralto, and Mr. Herbert Witherspoon, baritone.
64The program of Mr. Carl's recital at the First Presbyterian Church on Friday afternoon at 4 o'clock will be a commemorative of the fiftieth anniversary of the death of Mendelssohn. The assisting artists will be Mrs. Antonia Savage Sawyer, contralto, and Mr. Herbert Witherspoon, baritone. Following is the program:
66Organ sonata in F minor, No. 1 …………………F. Mendelssohn-Bartholdy
67Allegro.
68Moderato.
69Adagio.
70Andante (recitative).
71Finale.
72Recitative and aria—"But the Lord is Mindful" ("St. Paul") ………………………………………Mendelssohn
73Mrs. Antonia Savage Sawyer.
74Allegro vivace ("Reformation Symphony") ………….Mendelssohn
75Barcarole in A flat (new) ………………………………………Edwin H. Lemare
76Minuet in A major (new) ………………………………………C. P. Kendal
77(Arranged for the organ by Alfred Whittingham.)
78The Royal Banners (new) ………………………………………Charles William Pearce
79(A dramatic fantasia for the organ.)
80Aria, Confutatis (Manzoni Requiem) …………………….Verdi
81Mr. Herbert Witherspoon.
82Marche Heroique de Jeanne d'Arc (first time) ………….Th. Dubois
84Next week, Monday, Mr. Carl has been engaged to direct the music at the celebration of the 250th anniversary of the signing of the Westminster Catechism. The services will be held at the First Presbyterian Church, Monday afternoon and Tuesday evening, and on Monday night at the Madison Square Garden Concert Hall. Mr. Carl will be assisted by Mr. Evan Williams, tenor, the Kaltenborn-Beyer-Hané Sextet and the entire choir of the Old First. On Thursday, the 11th inst., Mr. Carl will open a new organ at Pottsville, Pa.
86Miss Edith Wehner in Frankfurt.—It is great pleasure to announce the distinct success of Miss Edith Wehner, a pupil of the Marchesi school, in her first concert at Frankfurt. The concert was given with the assistance of Mr. Hugo Becker and Mr. Uzielli. The attendance was large, the interest and enthusiasm unusual, and the papers speak of the young lady in the highest terms. The Frankfurt Intelligenz-Blatt says:
88The good schooling of an unusually sympathetic organ, a capability founded on a good musical intellect and artistic feeling were shown in an aria from Händel's "Serse," in "Mon Coeur," from "Samson and Delila," and in Massenet's "Elegie." Bach's "Willst Dir Dein Herz Schenken" and Schubert's, Schumann's and Brahms' songs were severe tests of the singer's powers, which are well in hand. Several French songs, in particular "En Prière," by G. Fauré, and "Reveillez-vous," Godard, were given with taste, finish and French spirit.
90The General Anzeiger says:
91The young artist is in possession of a well timbred and well balanced mezzo soprano voice, which she knows well how to use. Well earned applause was given Miss Wehner after every number. We can only hope that in her next appearance she will sing yet more German songs.
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