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Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
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1GEORG LIEBLING will spend a fortnight of his Easter holidays in Berlin. He will probably play in Potsdam before the Princess Leopold, sister of the German Empress.
3Kapellmeister Weingaertner has, we hear, signed a contract with Dr. Kaim to conduct his concerts at Munich during the next two years.
5The Queen's Hall Choral Society will give a performance of the "Redemption" on Good Friday at 3 o'clock, and the Royal Choral Society will give "The Messiah" at the Royal Albert Hall, while the same work will serve to open the Alexandra Palace.
7The title of the new opera shortly to be produced at the Savoy is "The Beauty Stone," and it may be expected on May 21.
9E. H. Thorne will deliver three lectures at the Royal College of Organists on "English Church Music." The dates are May 18 and 25 and June 1 at 6 o'clock, and a select choir will give interesting illustrations.
11At St. Margaret's, Westminster, on March 30, Dvorák's "Stabat Mater" was given, the accompaniments being played upon the organ by Mr. Lemare. The soloists were Miss Esther Palliser, Messrs. F. Henry, A. Pinnington, and Lane Wilson, the choir of the church also taking part.
13The London Organ School and International College of Music has been taken over by Dr. York Trotter, and it will in future be conducted under his personal direction.
15Whitney Tew will be assisted at his forthcoming vocal recitals at Queen's (small) Hall by Georg Liebling, Miss Marie Fillunger, Mme. Marian Mackenzie, Miss Margaret Reibold and William Shakspare.
17Miss Pauline Joran has been secured by D'Oyly Carte for the new romantic opera by Sir Arthur Sullivan, Pinero and Carr. We understand that the authors consider her specially suited to the part she is to create. Miss Joran has been spending the winter i. Brussels, perfecting her French repertory with Madame Moriani and M. Vermantale. She is at present resting at Bournemouth, prior to taking up her active work at the Savoy.
19George Devolle and Edwin Isham have been engaged for the new opera at the Savoy.
21An organ recital was given on Saturday last at St. Margaret's, Westminster, by Edwin H. Lemare. The program was devoted to Wagner, and Leo Wilson sang Wotan's "Abschied," from "Die Walküre."
23Georges Jacobi, on the completion of the twenty-fifth year of his engagement as musical director of the Alhambra Theatre, has resigned his post.
25Lady Jeune is very busily engaged with the arrangements for her amateur theatricals in aid of the Chieveley Nursing Fund. The performances are to take place in the Odd Fellows' Hall, Newbury, on Easter Tuesday. The cast will include Julia, Marchioness of Tweeddale, Lady Dorothy Fitz-Clarence, Miss Madeline Stanley, the Hon. Nevill Hill-Trevor, Sir Herbert Stephen and Mr. Atkin.
27A statue has just been erected in Dublin to Sir Robert Stewart, the Irish composer and organist, who was professor of music at the University.
29ROYAL COLLEGE AWARDS.
31At the Royal College of Music the following awards were made at the conclusion of the Easter term: Council Exhibitions—Harold S. Samuel (piano), £5; Henrietta Smith (piano), £5; Ivor L. Foster (singing), £10; Joseph Soar (organ), £15; Kitty A. Wolley (violin), £15. Charlotte Holmes Exhibition—£15. Hilder Foster (singing); organ extemporizing prize (value £3 3s.), Herbert F. Ellingford; Challen & Son gold medal for piano playing, Ethel Wilson; Henry Leslie prize for singers, Hilder Foster; Dove scholarship for 'cello, Arthur C. Trew; Heywood-Lonsdale (Shropshire) scholarship, Maud C. Turner (singing).
33Signor Mancinelli is to write the music of a cantata for the forthcoming exhibition at Turin; the libretto will be the work of Signor Berta.
35The violin playing of Aldo Antonietti was one of the principal features of the "At Home" given by Mrs. Atwater on Saturday. His interpretation of Chopin's E flat Nocturne and Svendsen's "Romance" was greatly appreciated by all present. Others who contributed to the program were Ernest Sharpe, who sang most dramatically Hans Hermann's "Drei Wanderer," Frederick Peachey and Miss Isabel Hirschfeld, both contributing piano solos, and Hugh Ried Griffin, who gave a most successful parody of his own on the soliloquy of "Hamlet."
37Sibyl Sanderson, of the Paris Opéra, is said to be critically ill at Nice, paralysis being mentioned in some of the reports.
39The Municipal Council of Marseilles lately voted 15,000 francs to one of the theatres, whereupon the mayor declared that there was no money available for such a purpose. Thus the subvention war still goes on.
41It is proposed to hold an exhibition of domestic art industries at the Imperial Institute from May to August. One of the sections will be devoted to the exhibition of musical instruments.
43MUSICAL LEGISLATION.
45The House of Commons only boasts one member who has gained the title of Mus. Bac. by examination; but he is so far loyal to his favorite art that he is likely to render important service to musicians. Mr. Sidebotham, member for Hyde, has promised to take charge of a bill prohibiting the sale of foreign in absentia musical degrees in this country. He will be supported by the Union of Graduates in Music; and as this association now numbers nearly all musical graduates among its members, it must represent the true feeling of musicians on this important question. If the bill is not yet formulated it might be made to include also a prohibition of the sale of bogus diplomas, whether English or foreign, and degrees awarded by various trading institutions and musical academies merely on payment of certain fees which go into the pockets of the promoters. One would think that enough had been said on this subject to put people on their guard and to discount the holders of such degrees; but if a bill is to be brought in, it may as well be as complete as possible, so as to leave no loophole for the fraudulent or pitfall for the unwary.
47CONCERTS.
49Even the genial presence of Dr. Hubert Parry and that of two young and exceptionally brilliant virtuosi at the Queen's Hall on March 31 could not entirely lift a cloud of dullness which hangs upon the Philharmonic concerts. The program last Tuesday opened with Saint-Saëns' "Phaëton," played with a maddening want of brightness, and closed with Mozart's E flat Symphony, of which the Andante and Menuetto were given with some neatness and a welcome display of feeling. Ossip Gabrilowitsch scored a perfectly legitimate triumph with Liszt's popular E flat concerto. The youthful pianist's superb execution and complete assurance, allied with a refreshing reasonableness of conception, won for him the cordial approval of his hearers, and his execution of Rubinstein's G minor Barcarolle, given in response to the continuous applause, was a very delightful piece of playing. Henry Such has first-rate technical powers and evident musicianship. These were sadly thrown away upon so trivial and uninteresting a work as Raff's concerto for violin in B minor. I understand, however, that the artist played the ungrateful music by request, and that it would by no means have been his own choice. A want of variety in expression and an occasional uncertainty of intonation in very rapid passages are faults which this admirable young violinist will no doubt cure as he gains greater experience. Mme. Alva, replacing Miss Susan Strong, sang the fine "Ritorna, vincitor" from "Aida," and the almost heart-breaking song of Marguerite, "L'Altra Notte," from "Mefistofele," showing considerable intelligence and a not inadequate amount of vocal skill. Gratitude is certainly due to the Philharmonic directors for granting another hearing to Dr. Parry's Symphonic Variations. Each time that I hear this characteristic work I am more and more impressed by its strength and its charm. Setting aside its claims to notice as a new departure in form, I must say of it that as pure orchestral music I think it is as fine as anything written by an English composer. Brisk, vigorous, lucid, it gives a delightful sense of straightforward freshness, of wholesome feeling. If only our younger composers would try to catch something of Dr. Parry's spirit instead of striving for the Wagnerian ideal or presenting us with indistinct caricatures of Brahms' methods, there would be some hope of an English school. But Parry is as individual in his genius as were Wagner and Brahms, and perhaps if we got "imitation Parry" and nothing more we should live to regret the influence of one of our greatest English composers.
51CRYSTAL PALACE.
53A varied and interesting program was brought forward at the Crystal Palace concert on Saturday afternoon, when selections were given from the works of Mozart, Händel, Schubert, Chopin, Mendelssohn, Wagner and Tschaikowsky. It is a regrettable fact that the audience was not so large as usual; indeed, the faithful patrons of this time-honored institution seem to be growing less. Although suffering from a severe attack of bronchitis, Mr. Manns, in order not to cause disappointment, kindly came forward and conducted. Mozart's melodious Symphony in C was the opening work, and met, as usual, with well deserved appreciation. One of the most interesting features of the concert was the performance of Tschaikowsky's piano Concerto in B flat minor by M. Gabrilowitsch. The young Russian acquitted himself of this difficult task with success, overcoming the technical difficulties with apparent ease and imbuing the Andante with much romance and poetry. His other contributions to the program included Chopin's Valse in A flat, the Nocturne in F sharp, and Tausig's meretricious arrangement of Schubert's Marche Militaire for his third number. Schubert was drawn upon for selections from the incidental music of "Rosamunde," comprising the Entr'acte in B flat, the "Shepherds' Chorus," and the Ballet in G. In the orchestral pieces Mr. Manns' players did some of the best work of the afternoon, and the Crystal Palace Choir made easy work of the chorus. Mendelssohn's "Hear My Prayer" was also given, with Mme. Lucile Hill as the soloist. She afterward sang three well written songs by Garnett Cox, a student of the Royal Academy and cousin of Lord Wolsley. These were very well received. Helmesberger's transcription of the favorite air "Ombra mai fu," from Händel's "Circe," for organ, harp, violin and string orchestra, was capably rendered, the solo being effectively played by A. V. Belinsky, the leader of the band. A fine performance of the Festival March and Chorus from "Tannhäuser" completed the program.
55BRAHMS' MEMORIAL.
57The never to be sufficiently lamented death of Brahms having taken place on April 3 last year, it was natural that the Bach Choir should wish to give an In Memoriam concert, and the crowded and representative audience which assembled on Saturday evening at the Queen's Hall, a large proportion of the ladies being attired in mourning, showed that the musical public was duly grateful for the opportunity of honoring the master's genius. A better selection than the "Nanie," the piano concerto in B flat, and the "Requiem" could hardly have been made, and Mr. Borwick's quite extraordinary performance of the concerto was overwhelmingly worthy of the occasion. I have never heard the concerto so finely interpreted, and I have never heard Mr. Borwick play any other work so well. His transcendent execution was fully equaled by his intellectuality. The opening phrases from the piano were a revelation, which grew with increasing splendor till the final chords had been played. I have heard Mr. Borwick called the "Joachim of the Piano," and indeed, after this performance, he is worthy of the description. The "Nanie" was, on the whole, fairly well sung, but as regards the "Requiem" I must sorrowfully admit that it was the least satisfactory rendering of the work that I can remember. The chorus sang steadily and in tune, and the orchestra occasionally rose to the demands made upon it, but the utter absence of spirituality about the interpretation was deplorable. The words might have been anything rather than the most solemn and moving expressions of devout religious feeling, and the timidity of attack and monotonous tone noticeable throughout the chorus enhanced the sense of failure. The "Requiem" is perhaps the very finest specimen extant of what used to be called "sacred music"; it is dramatic and it is emotional in the highest degree, consequently it makes very great demands on those who essay its interpretation. Though no doubt their intentions were excellent, the powers of the Bach Choir are at present hardly equal to these demands.
59Miss Alice Esty gave her beautiful solo with very great success, and that excellent artist Francis Harford sang with seriousness and an evident desire to do justice to the incomparable music. The best work was done in the concluding numbers, the fugue "Worthy Art Thou" deserving of praise, and the chorus doing what they could, more or less, to realize the grandeur of "The Trumpet Shall Sound."
61The last Saturday popular concert afforded a magnificent performance of the Rasoumosky Quartet in C major, and the familiar rendering by Joachim of Bach's Chaconne. A hearing was also given to Stanford's Quartet in D minor, which pleased me even more than it did when I heard it played by Mr. Gompertz. Without being a great work, it is fresh and interesting, the subjects are most ingeniously handled, and though there are occasional reminiscences of certain composers, originality is by no means wanting. Madame Marchesi sang a very striking song of Rubinstein, "Klinge, Klinge, mein Pandero," as well as "La Procession," by César Franck, which is ultra modern French in both sentiment and treatment.
63The second and last concert of the Bohemian String Quartet at St. James' Hall, on March 29, was full of interest, with a program which included Dvorák's op. 61 in C major, and Sgambati's quartet in C sharp minor. The latter excited the greatest interest, as it is the com-
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