Scan 23
Musical Courier 1898-01-19: Vol 36 Iss 933, 1898
157 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 24. See the scan on archive.org.
1myth or picture or poem which he attempts to illustrate musically.
3He has a right to choose any subject. In making use of external suggestions he must first of all be musically interesting. He must not hope to save himself when imagination fails and thought is dry by shrieking the Macedonian cry, "Oh, Maeterlinck, save me!"
5Mr. Loeffler is too sane a man, too fine an artist to fall into the error of panoramic detail. Maeterlinck's drama is full of suspense, horror, death. Who are the Queen and her handmaids? Who are the child and his sisters, one of whom is faithful to the end? The wild fanfares in Mr. Loeffler's music recall the memory of old Aglovale, who, weak in mind and body, remembers vague heroic days. Is the night wild only for Tintagiles or for those without the castle?
7This wild night, the memory of old, heroic deeds, the awful struggle between the cruel and the weak—these are expressed with uncommon musical intensity and not merely through the association of literary ideas. Marvelous orchestration! Strange and fascinating individuality!
9I wish, however, that Mr. Loeffler had not made such liberal employment of the two violes d'amour. I see his purpose. The strange, unearthly tones would make a remarkable contrast, and the preevishness in the complaint would suit the character of the doomed boy. one of two readings
10I wish, however, that Mr. Loeffler had not made such liberal employment of the two violes d'amour. I see his purpose. The strange, unearthly tones would make a remarkable contrast, and the piveness in the complaint would suit the character of the doomed boy. one of two readings
12There is nothing that so soon becomes intolerable as that which at first excited attention by its uncommonness.
14Mr. Loeffler might answer, "You still remember the effect of those violes." Yes, I hear them now. Perhaps after all, he was wise in his choice.
16I hope the piece will soon be played again. To judge of it dogmatically after two hearings would be absurd.
18My impressions to-day, however, are the same as those of a week ago: The music will not out of one's thoughts: it is a single proof of the extraordinary orchestral genius of the composer; there are passages that are overwhelming in their fire and passion and despair; but when I recall the other works of Mr. Loeffler I do not believe that the "Death of Tintagiles marks an unmistakable advance in his career. I know of no other man now living who could have written this particular work, with its particular effects; but I believe that Mr. Loeffler will yet write works superior to it in musical thought and musical authority. At present he is too curious, perhaps, in the pursuit of extraordinary expression. There is a limit to fantastic language. Maeterlinck himself is simple in speech to the verge of austerity. Mr. Loeffler should not value unduly things which are external. A man should have the liberty of expressing his thoughts in the way that seems best to him; but he should not become intoxicated by his own rhetoric. I am sure that the fastidious taste, the high ideals of Mr. Loeffler will save him from depending too much on novel tonal effects for a success that his indisputable natural gifts will surely give him.
20* * *
22The followed Brahms' fourth symphony, which gives me small delight. I heard the first movement only. It was played in dull, lethargic fashion, whereas Mr. Loeffler's piece was performed with a superb display of maestria.
24* * *
26The program of the twelfth symphony concert, given January 15, included Beethoven's Pastoral Symphony; Massenet's incidental music to Leconte de Lisle's "Les Errinyes," and Smetana's overture to the "Sold Bride." I believe the Massenet suite was performed here for the first time. The 'cello solo in the "Invocation" was played beautifully by Mr. Schroeder, and the "Entr'acte" and "Danse Grecque" were not without interest. The finale—"Danse des Saturnales"—reveals the Frenchman of the students' balls, but as a whole the music is well made and leads one to speculation as to what Massenet might not have done if he too had not chosen to worship in music at the shrine of the great Parisian goddess.
28Mr. T. Adamowski fiddled Beethoven's "Romanza" in F major, and Ladislas Gorski's transcription for solo and orchestra of Paganini's "Caprice" in A minor, op. 1. His intonation was often faulty. The Romanza was without breadth or repose, and in the Caprice, although there were happy moments, the bravura as a rule caused uneasiness in the breast of the hearers.
30* * *
32Let me record first performances and appearances here. Absence from town prevents comment in certain cases.
34César Franck's Trio, op. 1, in F sharp minor, Kneisel Quartet, January 3, G. W. Proctor, pianist.
36"The Idol's Eye," operetta by Smith and Herbert, at the Tremont, January 3; Frank Daniels and company.
38Miss Annie C. Muirhead, lecturer to children and others, January 10.
40S. Grahame Nobbs, tenor, and A. R. Frank, bass, Steinert Hall, January 12.
42Humperdinck's "Pilgrimage to Kevlaar" and Thomas' "Swan and the Skylark," the Cecelia, January 13.
44* * *
46Henri Marteau, assisted by Mrs. Szumowska, gave concerts here January 12 and 13. PHILIP HALE.
48The Henschel Recital.
50THIS was the program sung by Mr. and Mrs. Georg Henschel on Friday afternoon last, the 14th inst., in Chickering Hall:
52Sacred song, Vergissmeinnicht…………………Bach
53Air from Rinaldo………………………………….Händel
54Star Vicino…………………………………………Salvator Rosa
55Polly Willis…………………………………………Dr. Arne
56The Glen of Kennare………………………………Old Irish
57Mrs. Henschel.
58Four songs from Die Winterreise…………………Schubert
59Der Lindenbaum.
60Die Krähe.
61Letzte Hoffnung.
62Der Leiermann
63Mr. Henschel.
64Von ewiger Liebe…………………….Brahms
65Auf die Nacht……………………….Brahms one of two readings
66Auf die Nacht……………………………Brahms one of two readings
67Mein Lieb ist ein Jaeger………….Mrs. Henschel. one of two readings
68Mein Lieb ist ein Jaeger………………..Mrs. Henschel. one of two readings
69Duet, Gondoliera………………………..Henschel one of two readings
70Duet, Gondoliera……………………………Henschel one of two readings
71Mr. and Mrs. Henschel.
72Widmung………………………………….Franz
73Der Asra………………………………………Rubinstein
74Couplets de Vulcain, from Philemon et Baucis….Gounod
75Mr. Henschel.
76Malgré l'Éclat……………………………….Henschel
77The Sunny Beam………………………..Wagner one of two readings
78The Sunny Beam…………………………..Wagner one of two readings
79Attente…………………………………………Mrs. Henschel.
80Duet from Les Voitures Versées………….Boieldieu one of two readings
81Duet from Les Voitures Versées…………………Boieldieu one of two readings
82Mr. and Mrs. Henschel.
84Mr. Henschel opening with the Song of Bach read the usual lesson in this as in all his other numbers, as to what may be accomplished with a voice not naturally pleasant in quality, but used with consummate art and supported by an accompaniment unsurpassed in excellence and polish. His musicianly interpretations are a study for the young artist well worth the making, and the man's virtuosity—as, for instance, in the Händel air—is a model in fluency for singers who wish to acquire perfect breath control. Every phrase sung by Mr. Henschel commands serious attention, and he was listened to on Friday afternoon with serious and satisfied interest by an intelligent audience which overflowed the hall.
86Mrs. Henschel, with a voice much more expressive in quality than that of her husband, has been heard to sing better on other occasions. It is to be regretted if her manner has permanently taken on the rather exaggerated pose of Friday afternoon. Mrs. Henschel has always sung with sincere and appealing sentiment and a polished diction of which no syllable was lost. Her methods at this concert were wire drawn, and the oversentimentalism which dissolved into wholly inaudible pianissimi and aerial enunciation proved a serious disappointment in her case. She was at her best in the duets, the Henschel Gondoliera, a fascinating composition, being given with a clearer sense of proportion than her solos. Had Mrs. Henschel not proved so often her power to enthrall us by her tender, delicately pointed enunciation of even the simplest lyric, as much as by her musical intelligence and finish in solos of considerable strength, we would not so deplore this new decrescendo in her talent. One might assume it a matter of not gauging the hall had she not sung in Chickering before with telling effect. The artistry of her intentions, however, was obvious—superartistry, indeed, it might be called.
88The second recital takes place in Chickering Hall this (Wednesday) afternoon, the 19th, at 2:30 with the following program:
90Duet, Quel onda………………………………….Padre Martini
91Mr. and Mrs. Henschel.
92Air from Hercules………………………………..Händel
93Recitative and aria from Alessandro…………….Händel
94Mrs. Henschel.
95The Harem Keeper's song from Il Seraglio……..Mozart one of two readings
96The Harem Keeper's song from Il Seraglio………..Mozart one of two readings
97Crugantino's song from Claudine (1790)……..Beethoven
98Mr. Henschel.
99Auf Plügeln des Gesanges………………………..Mendelssohn
100Lithauisches Lied………………………………..Chopin one of two readings
101Lithauisches Lied……………………………….Chopin one of two readings
102Meine Liebe ist grün……………………………..Brahms one of two readings
103Meine Liebe ist grün…………………………….Brahms one of two readings
104Mrs. Henschel.
105Ballad, Archibald Douglass………………………Loewy
106Mr. Henschel.
107Duet, Oh, That We Two Were Maying………….Henschel one of two readings
108Duet, Oh, That We Two Were Maying…………..Henschel one of two readings
109(By request.)
110Mr. and Mrs. Henschel.
111Ca' the Ewes………………………………………Old Scottish
112The Little Red Lark………………………………Old Irish one of two readings
113The Little Red Lark……………………………..Old Irish one of two readings
114It Was a Lover and His Lass…………………..Old English
115Mrs. Henschel.
116Three Songs from the Cycle…………………….Henschel
117Der Trompeter of Säkkingen…………………..Henschel
118Ballad, Jung Dietrich……………………………Henschel
119Mr. Henschel.
120Duet from Don Pasquale………………………..Donizetti
121Mr. and Mrs. Henschel.
123Kaminsky Conservatory Concert.
125At the tenth concert of the Educational Alliance, on Sunday evening, January 9, given by pupils of the Kaminsky Conservatory of Music, the following numbers on the program called for special mention:
127Aria, Zauberflöte……………………………….Mozart
128Mr. Silberstein.
129Piano, Au Matin…………………………………Godard
130Master Sepiroff.
131Romanze, Summer……………………………….Chaminade
132Mrs. M. Casta.
133Piano, Fantasia…………………………………Mozart
134Master S. Bercow (ten years old).
135Violin, Souvenir………………………………..Leonhard
136Leo Springier, teacher of the Conservatory.
137Piano, Concerto (first movement, C major)……Beethoven
138Robert Y. Barrows, with accompaniment of second piano.
139Vocal duet, Still wie die Nacht…………………Gotze
140Messrs. Smolensky and H. Kaminsky.
141Piano (eight hands), Faust Fantasie, arranged by Kaminsky………………………………….Gounod
142Misses R. Minsky, J. Jacob, Paulie Rose, Celie Rose.
144KARGER CONCERT COMPANY.
145COMPOSED OF THE FOLLOWING WELL-KNOWN ARTISTS:
146Miss Jeanette MacClanahan, Soprano; Miss Marie Mildred Marsh, Pianiste; Sig. S. P. Veron, Basso-Cantante; and
147MAX KARGER, Violin Virtuoso.
148Under the direction of
149L. M. RUBEN, 489 Fifth Ave., New York.
150Manager, Mr. Max Kaufmann.
151NOW ON TOUR.
152Antoinette Trebelli, Prima Donna Soprano.
153NOVEMBER until MAY, 1898……..
154[By special arrangement with Messrs. Vert & Harris.]
155Concerts, Oratorios, Musical Festivals, Etc.
156The Henry Wolfsohn Musical Bureau, 131 East 17th Street, NEW YORK.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.