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Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
111 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1life, while the playing of the band was tame and wanting in delicacy and refinement in the solos.
3Mr. Somervell, who conducted, had a good reception and was heartily recalled at the close. The performance could not be called a great one, and the work would undoubtedly have been heard to much better advantage had it been given under Dr. Richter's direction. In the miscellaneous selection Madame Albani sang the Mozart air, "Non mi dir," very finely, and Mr. Ben Davies achieved a triumph in Cowen's "Dream of Endymion," the composer conducting. Both came in for enthusiastic applause. Gluck's overture, "Iphigenia in Aulis," with Wagner's ending, opened the evening program and the remaining orchestral pieces were Mozart's symphony in G minor, played with marvelous delicacy and finish; Wagner's "Siegfried Idyll," equally well given, but none the less out of scale and out of place, and Dvorák's rattle "Carneval" overture, which sent the audience home with its merry tunes ringing in their ears.
5Friday morning's performance was the longest we have had at a Birmingham Festival for many years. It commenced at half-past eleven, and, with half an hour's interval, lasted till close upon half-past three. The first work given was Schubert's Mass in E flat, which, with Miss Anna Williams (her last appearance at a festival), Miss Ada Crossley, Mr. Edward Lloyd, Mr. Ben Davies and Mr. Andrew Black as principals, received a flawless rendering. The lovely "Et Incarnatus Est"—a musical Madonna and Child—was exquisitely sung by Miss Williams and Messrs. Lloyd and Davies, and the quartets and choruses were beautifully interpreted. Dr. Hubert Parry's "Job" was given after the interval, the composer at the conductor's desk. This fine work was given in a style to eclipse any previous performance, because the executive resources were on a more ample scale.
7The title part was again sustained in his admirable way by Plunket Greene, the part of the narrator was well given by Mr. Black, Mr. Lloyd was once more brilliant, though not Satanic, as Satan, and Miss Hilda Foster sang very sweetly the Shepherd's song. The choruses were splendidly sung and the band did wonders. The composer was overwhelmed with applause at the conclusion. Then came Tchaikowsky's Symphony in B minor, the "Pathétique"; and though it did not begin until after half-past two, the performance kept the audience riveted to their seats. Never, probably, has the work had such a treatment. In the first place it has never been given in England by such an orchestra, the strings and wind being in perfect balance. The effect was stupendous, and the audience watched the 5-4 movement with breathless attention, the conductor leaving the orchestra to itself after the first bar. The result justified the daring expedient. one of two readings
8The title part was again sustained in his admirable way by Plunket Greene, the part of the narrator was well given by Mr. Black, Mr. Lloyd was once more brilliant, though not Satanic, as Satan, and Miss Hilda Foster sang very sweetly the Shepherd's song. The choruses were splendidly sung and the band did wonders. The composer was overwhelmed with applause at the conclusion. Then came Tschaikowsky's Symphony in B minor, the "Pathétique"; and though it did not begin until after half-past two, the performance kept the audience riveted to their seats. Never, probably, has the work had such a treatment. In the first place it has never been given in England by such an orchestra, the strings and wind being in perfect balance. The effect was stupendous, and the audience watched the 5-4 movement with breathless attention, the conductor leaving the orchestra to itself after the first bar. The result justified the daring expedient. one of two readings
10The festival terminated with a very fine performance of the "Faust" by Berlioz on the Friday evening. With such principals as Mme. Albani, Mr. Edward Lloyd and Mr. Bispham as the dramatic personae, and Mr. Plunket Greene for Brander's song, success was certain, and was secured; but the wonderful performance of 1891 was not repeated. Then, with the National Anthem, the proceedings were over. Dr. Richter received the congratulations of choristers, band and audience, and there were calls for Dr. Heap, the clever chorus master, but he did not appear. Here it is right to award praise to him for his admirable work in training the choir, and Mr. C. W. Perkins, the organist, ought to receive recognition of his valuable aid in the oratorios and Requiem. The festival was a great success in every way, if it did not approach some of the brilliant gatherings recorded in its history.
12At a congraulatory meeting held on Saturday, the 9th, it was stated that the attendance was just nine in excess of that in 1894—12,322, against 12,313. The receipts, including donations and collections at the door after the morning performances, amounted to £13,695, against £13,056 in 1894. Some hundreds of pounds were received after the close of the previous festival, and if that should be the case this year, the hospital will benefit to the tune of £5,000. Mr. C. G. Beale, chairman of the committee, and his colleagues deserve all the compliments bestowed on them.
14F. V. ATWATER.
16JOSEPH JOACHIM SCHOOL
17… FOR …
18Violin Solo, …
19STRING QUARTETTE AND ALL BRANCHES OF INSTRUMENTAL, ENSEMBLE AND CHAMBER MUSIC.
20Conducted (with his authority and advice) by his pupil,
21Miss GERALDINE MORGAN,
22ASSISTED BY
23Mr. PAUL MORGAN and other Artists.
24First Term begins November 1, 1897.
25For particulars address
26Mr. PAUL MORGAN,
27Carnegie Music Hall,
2856th St. and Seventh Ave., NEW YORK.
30LEIPSIC
31LEIPSIC, October 12, 1897.
33THE Liszt Verein began its series of concerts on Monday, the soloists being Céleste Painparé, pianist, and Hermann Gura, baritone. The conductor was William Kes, of Glasgow.
35Liszt's symphonic poem, "Les Preludes," was the opening number and received rather a rough and uneven performance, such as is to be expected from an orchestra which is of the scratch order, and not to be compared with the Winderstein, which was employed at these concerts last year, a fact which will be more in evidence as the season advances. With only two rehearsals Conductor Kes did much with such material, but anyone hearing the Brahms variations on a theme of Haydn could hardly have been impressed either by the performance or the interpretation.
37Tchaikowsky's "Romeo and Juliet" overture was by far the best played of the orchestral numbers, even if the wood-wind and trumpets on several occasions began on the wrong beat!—yes, such things occur even in Germany. Saint-Saëns' latest concerto for piano and orchestra in F major was the interesting novelty. As is usual with this composer, the technical workmanship is of absolute finish. His themes, however, are very short and hardly adapted for a free working out, and upon the whole, while the work is in the concerto form, it gives one the impression of an Oriental picture, or rather a succession of pictures. The second movement, marked andante, is more like moderato and offers many rhythmical combinations, the principal theme in G major only entering after a third of the movement has been played. one of two readings
38Tschaikowsky's "Romeo and Juliet" overture was by far the best played of the orchestral numbers, even if the wood-wind and trumpets on several occasions began on the wrong beat!—yes, such things occur even in Germany. Saint-Saëns' latest concerto for piano and orchestra in F major was the interesting novelty. As is usual with this composer, the technical workmanship is of absolute finish. His themes, however, are very short and hardly adapted for a free working out, and upon the whole, while the work is in the concerto form, it gives one the impression of an Oriental picture, or rather a succession of pictures. The second movement, marked andante, is more like moderato and offers many rhythmical combinations, the principal theme in G major only entering after a third of the movement has been played. one of two readings
40The finale is very effective, and as Pugno will probably play it in America, there will be opportunity enough to judge this not exceptional creation. Miss Painparé has a clear finger technic, but lacks warmth and tone gradation, but her performance of the work was adequate in giving a correct idea of the same. She also played "Arioso," by Bach, and "Etincelles," by Moszkowski, as solo numbers and was encored.
42Hermann Gura musically declaimed eight new songs of Richard Strauss in a very interesting manner, and two of the number, "Traum durch die Dämmerung" and "Ständchen," are very effective compositions, albeit that the form is a bit stretched and the accompaniments very difficult, a fact which will not help them toward popularity.
44* * * *
46Harry M. Field, the Canadian virtuoso, has settled down in Leipsic for the next two years, and will give a piano recital in the near future. I heard him play recently and find that his technic and musical understanding have broadened considerably. I look forward to his first public appearance with interest.
48* * * *
50The first Gewandhaus concert, on October 7, was entirely devoted to the works of Brahms. Arthur Nikisch was the conductor, Dr. Kraus bass and Willy Rehberg pianist.
52After the Tragic Overture had been played the various heavy sleepers of the old guard subscribers began stretching for the coming winter, and admonished the door-keepers to keep a sharp lookout for drafts. "Unseres Orchester," the name by which the Leipsickers refer to that body, has not entirely shaken off the result of a long vacation.
54Symphony No. 1, in C minor, has been heard often enough under Nikisch to need no further comment than to speak of the sterling excellence of the performance.
56Dr. Kraus sang the "Four Serious Songs," with biblical texts, and the idea prevails that they are very intellectual, and difficult to grasp after one hearing. These, with two romanzas after Tiecks Melogene, gave the singer ample opportunity to disclose a very rich and full bass-baritone, and coupled with Nikisch's fine accompaniment gave me real enjoyment. The D minor piano concerto was satisfactory, though the long opening "tutti" simply kills the solo instrument when it first enters, even if Brahms did write it.
58Rehberg did not do the opening allegro full justice, and his peculiar habit of "cutting off" all the endings of the passage work made it lack continuity. D'Albert's interpretation is of a different calibre, and it was only in the finale that Rehberg had thorough command of his heavily imposed task. In the andante his touch was hard and dry, and made me question why pianists always insist upon brilliance in the tone of the instrument, rather than a full and carrying quality, which would do away with that very disagreeable, metallic twanging so annoying to a sensitive ear.
60* * * *
62Richard Hofmann has just published a new "Violin Technic," which embraces every practical form of bowing and fingering from the simplest to the most complex, and violinists will find this valuable work of great interest and practical value. The same author's voluminous "Study of Instrumentation" will soon appear in English, and belongs to the best of the modern publications of a similar sort.
64ALVIN KRANICH.
66Unmusical Tone.
68MR. THOMAS C. LEWIS, of London, has lately issued an interesting pamphlet entitled "A Protest Against the Modern Development of Unmusical Tone." The subject is certainly one that claims attention in these days when tone, instrumental and vocal, is so often forced for effect, and our modern ears, accustomed to look for such certain effect, forget or neglect to compare it with the purer products of nature, probably because we are so familiarized with certain artificialities that the true methods are unknown or overlooked by us. Mr. Lewis puts the matter very neatly in his opening remarks. He says:
70"The evidence of the development of unmusical tone is constantly on the increase. Organs, church bells, pianos and some of the orchestral instruments manifest this downward grade in constructive aims, and, doubtless, the pernicious system of forced tone in the training of voices in the present day is another symptom of the concurrent yielding to false ideals." He goes on then to speak, in particular, of the tone tendencies in the construction of modern organs, bells and pianos; and he handles the subject with much skill, exhibiting, throughout, considerable knowledge of technical detail and practical workmanship.
72Not so long ago I had occasion in these columns to draw attention to the frequent poverty of diapason tone in the organ, owing, mainly, to the use of inferior metal in the larger pipes. We are glad to note that Mr. Lewis treats this matter very fully, being, from his large and varied experience in organ building, well competent to do so. He tabulates, in all, six classes of metal which it is possible to use for the construction of pipes, and of
74ADELE LAEIS
75Concert and Oratorio.
76BALDWIN,
77CONTRALTO.
78Studio: Carnegie Hall, New York.
80JOHN HERMANN LOUD,
81ORGANIST.
82Pupil of Alexandre Guilmant.
83Associate of the Royal College of Music.
84Organist at First Church, Springfield.
85ADDRESS: 45 Mattoon Street, Springfield, Mass.
87CONCERTS AND ORGAN OPENINGS A SPECIALTY.
89GEORGE LEHMANN,
90VIOLINIST.
91Concerts, Recitals, Musicals.
92For terms, dates, etc., address
93R. E. JOHNSTON & CO.,
9433 UNION SQUARE.
95Decker Building,
96… NEW YORK CITY.
98WILLIAM H. LEE,
99Baritone and Vocal Teacher.
100FORWARD TONE PLACING A SPECIALTY.
101Concerts, Musicales, Song Recitals,
102Late of "American," "Emma Juch" and "Clara Louise Kellogg" Opera Companies.
103Studio; 1025 Lexington Avenue, New York. one of two readings
104Studio: 1025 Lexington Avenue, New York. one of two readings
105Voices heard by appointment.
107MISS
108Dora Valesca Becker,
109SOLO VIOLINISTE.
110Address 120 East 89th St., New York.
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