Scan 22
Musical Courier 1897-11-24: Vol 35 Iss 925, 1897
78 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1The Dannreuther Quartet.
3A evening musicale was given in Chickering Hall on Thursday, November 18, at which the Dannreuther Quartet was heard in public for the first time this season. This organization is now in its twelfth year, and is composed of Gustav Dannreuther, first violin; Josef Kovarik, second violin; Otto K. Schill, viola, and Emil Schenck, violoncello. The program—extremely classic and interesting—called for the assistance of several other artists, and Louis Ehrke, Jacob Altschuler, William S. Hade and Felix Leifels, together with Rudolph Zwintscher, pianist, were engaged. The order of the program was reversed owing to the fact that one of the parts in the Händel concerto had been left at home.
5Music lovers were delighted at the opportunity of hearing the concerto in A minor by Bach, even though the interpretation was disappointing. In this number there was absolutely no ensemble—each artist played at his own sweet will—there seemed to be no understanding, and although the allegro moderato was rushed as to tempo, the "ma non tanto" of the adagio was quite ignored, and dragged unmercifully.
7In the Dvorák Quintet (op. 97) things went more smoothly—there was more precision, more finish, and the artists seemed to have caught the spirit of the composition. This quintet has been heard before in New York, when it was played by the Kneisel Quartet assisted by Zach, in 1894. The work is not profound—its themes are trivial and commonplace, but the workmanship of the composition is admirably skillful.
9The most pleasing number on the program, so far as the reading was considered, was the Händel "Concerto Grosso," in F major. The Minuetto was delicious, dainty, and wholly satisfying.
11Metropolitan College of Music Lecture.
13THE second of the course of lectures to the students of the Metropolitan College of Music was given November 18 by John C. Griggs, in the Assembly Hall of the Presbyterian Building. The subject was "Mystery Plays and Passion Music: Mediaeval Hymns."
15After acknowledging the indebtedness of music to the fostering care of the Church, which preserved it through the Dark Ages, Dr. Griggs gave a most interesting account of the performance of mystery plays, which originated in a spirit of devotion, but eventually degenerated into a boisterous frolic.
17Passion music originated in the custom of reciting during Holy Week in Gregorian style the story of the passion and death of Christ. Its gradual elaboration and development down to the time of Bach were described in detail, and of the great St. Matthew Passion music the lecturer spoke at some length, showing how inadequate the most perfect modern performance of that work must necessarily be, on account of its dependence upon traditional sympathy and understanding of the hearer.
19The examples of Passion music which served as illustrations were sung by a chorus and several soloists. These were the "Tenebrae Factae Sunt," attributed to Palestrina, and a selection of the Bach St. Matthew Passion music, showing the dramatic construction of the work.
21Of mediaeval hymns the lecturer said: "Of the heritage which the Church universal has had handed down through the ages, nothing has stood out more independent of creeds and times than those glorious Latin hymns of praise, of contrition and of beatific vision."
23A most interesting account of the celebrated musical settings of these hymns was concluded by the performance of "O Tree of Beauty" and "O Cross, Our One Reliance, Hail!" from Shelley's "Vexilla Regis," and the "Inflamatus" and "Eia Mater," from Dvorák's "Stabat Mater."
25The work of the chorus and of the soloists, Miss Richards and Miss Riley, was a delightful feature of the afternoon.
27The next lecture of the course will be given by H. E. Krehbiel on the subject of "Classic and Romantic Music," on December 2, in the Assembly Hall of the Presbyterian Building. Mr. Krehbiel will be assisted by Miss Caia Aarup.
29An Eminent American Teacher.
31OSCAR SAENGER has now before the public several pupils who are among our most successful vocal artists. These are Josephine S. Jacoby, contralto; E. Leon Rains, basso; Jos. S. Baernstein, basso; Esther Hirsch, contralto, and Madame De Pasquali, soprano.
33Mrs. Jacoby is engaged to sing at the chief orchestral concerts of the country under such conductors as Thomas, Seidl, Van der Stuecken and others. Mr. Rains is with the Damrosch Opera Company and will sing Pogner in the "Meistersinger," Hunding in the "Walküre," King Henry in "Lohengrin," and other leading roles.
35Mr. Baernstein is meeting with much success in concert work; Miss Hirsch also in concerts and musicals. Madame De Pasquali is singing with great public approval both in opera and concert, and bids fair to become one of the bright, particular stars in our American firmament.
37This is an array of talent of which any teacher might justly feel proud, and besides these singers, who are already well known, Mr. Saenger has many fine voices from all parts of the country, some of whom will surely be heard by the public before the close of the season.
39Martha Burmeister.—At a teachers' recital, given recently in the Jessamine Institute, of Nicholasville, Ky., Miss Burmeister, the talented young pianist, interpreted a delightful program with the assistance of Miss Boyd and Miss Douglas. Miss Burmeister's numbers included two Chopin nocturnes, "The Rose," by Spohr-Liszt, and a rhapsody by Liszt. The following notice is from the Jessamine Journal of October 29:
41A most brilliant and delightful musical and elocutionary program was rendered in the chapel on the evening of Friday, October 22, those taking part being Misses Burmeister, Boyd and Douglas. Miss Burmeister, as usual, was her usual self, and Germany, the land of our greatest composers, with a new and deeper inspiration, and, if possible, gives a more poetic interpretation of the masters' works than ever before. There are some performers who make a living and attain a sentimental triumph. Her rendering of his two beautiful nocturnes, while rendering sufficient to sentiment, breathed with healthy life. Enough cannot be said in praise of the Spohr-Liszt arrangement of "The Rose"; the conception and execution were alike exquisite.
43Shannah Cummings.—The two press notices quoted below refer to that excellent soprano, Shannah Cummings: Shannah Cummings was the soloist with the Pittsburgh Orchestra in Carnegie Hall. She gives promise of becoming a great soprano. Among her advantages are her youth, refinement and musical temperament, and true dramatic instinct. Her voice is of good quality, ample volume and wide range. Her program numbers were: "Let the Bright Seraphim," by Händel, and Delibes' beautiful arioso "O Thou Cruel Sea." For encore numbers she sang Well's "Spring Song" and Brahms' "The Art of Mine All Beesles beautiful list of rare talents, Mrs. Cummings is an accomplished pianist, as her accompaniment to the Well "Spring Song" readily proved.—Pittsburg Leader. one of two readings
44Shannah Cummings.—The two press notices quoted below refer to that excellent soprano, Shannah Cummings: Shannah Cummings was the soloist with the Pittsburgh Orchestra in Carnegie Hall. She gives promise of becoming a great soprano. Among her advantages are her youth, refinement and musical temperament, and true dramatic effect. Her voice is of good quality, ample volume and wide range. Her program numbers were: "Let the Bright Seraphim," by Händel, and Delibes' beautiful arioso "O Thou Cruel Sea." For encore numbers she sang Well's "Spring Song" and Brahms' "The Art of Mine All Beesles beautiful list of rare talents, Mrs. Cummings is an accomplished pianist, as her accompaniment to the Well "Spring Song" readily proved.—Pittsburg Leader. one of two readings
46The bright particular star of the evening was Shannah Cummings. She possesses a magnificent soprano voice of rare range and power, a commanding stage presence and a most pleasing personality. Her first number was "More Integral in His Love Estate." It was enthusiastically received, and "O Thou Cruel Sea" was given as an encore. She also sang "Polly Willis," a charming ballad, and "To Rest I Call Ye Lambkins All." She was recalled by bursts of applause and sang a lullaby.—Braddock Herald.
48Chaikovsky's "Voyevoda" (Chieftain).
50PERSONAL RECOLLECTIONS BY M. ALTSCHULLER.
52ON the 27th inst. the New York Symphony Society is going to play for the first time in America a piece Chaikovsky, entitled "Voyevoda."*
54Originally it was played at a concert given by the renowned Russian pianist, Mr. Zilotti, in the city of Moscow, in 1891.
56Peter Ilyich Chaikovsky himself conducted the orchestra, which had but a few rehearsals, due to the fact that the music was not complete before the very day of the concert. The concert proved a failure. In general the Russian public, appreciating the musical genius of Peter Ilyich as a composer, did not consider him as a great conductor.
58The fifth symphony, played for the first time under the leadership of the composer, failed entirely. When it was repeated the second time by Mr. Nikisch, the people wondered whether this was the same symphony, such was the difference in execution. Peter Ilyich was sceptically inclined toward his music. When asked what he thinks of the music of "Voyevoda" he abruptly answered, "It is pretty rotten."
60As a result of his own disappointment he burned all the music of it the day after the concert. Fortunately Mr. Zilotti saved the score, and thus gives the possibility of reproducing it now before the American public, which will undoubtedly appreciate its real merits.
62The subject of "Voyevoda" is taken from a well known poem by Pushkin, and in short consists of the following: The Voyevoda returning to his palace from a battle misses his wife. Full of jealousy and rage he wakes up his servants and starts immediately on a search. He finds his wife and her lover sitting in a garden. Hiding himself behind the bushes he overhears their conversation, witnesses their mutual affections, and commands the servants to shoot her. The servant hesitates to obey the command of his master, and at last fires at the "Voyevoda" himself. The Voyevoda dies with the feeling of unsatisfied revenge.
64Peter Ilyich wonderfully expressed the following movements:
66The swift ride of the "Voyevoda."
67The affections of love.
68The shooting.
69The last breathing of the dying Voyevoda.
71The first movement is the most difficult. After long meditation Peter Ilyich chose to express it by a very rapid "allegro." The affections of love are expressed by a gradual rise from a quiet, cautious melody into music of delight and victory. The moment of shooting is very effectively expressed, too; so are the last moments of the wild "Voyevoda"—which is attained through the use of brass instrumental music (trombone).
73Henschel Recitals.—Mr. and Mrs. Georg Henschel will give two song recitals in Chickering Hall on the evening of December 2 and the afternoon of December 6.
75A most unique and interesting program will be given by these artists, who have just returned from a highly successful tour in California. This is the farewell tour of the Henschels. They return to England in the spring.
77*Not a part of it, as was said in a former number of THE MUSICAL COURIER.
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