Scan 25
Musical Courier 1898-05-18: Vol 36 Iss 950, 1898
40 lines. Read by computer on 25 September 2026. Printed page 26. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1THE report that Ysaye has accepted the post of "chef d'orchestre" in New York was confirmed in Sunday's issue of the Guide Musical. His resignation as professor at the conservatoire has also been accepted. Therefore there is no more room for doubt. There is loud lamentation among his friends and admirers. His going is an irreparable loss, not only for his pupils, by whom he has always been regarded as little less than a god, but by the entire musical world.
3His influence has been of immense benefit, not only in forming artists, in which his success is remarkable, but in every way stimulating and elevating the public taste. In one of my earlier letters I gave a translation of an article that appeared in l'Art Moderne, showing forth what Ysaye had done for music here in Brussels.
5His wonderful art and enthusiasm has had a far reaching effect; he has done infinitely more for his pupils than to simply teach them the violin; he has communicated to them some of his own enthusiasm and inspiration and love of the true and beautiful, so that he has formed here a galaxy of young artists who do him great credit, and who are already making for themselves important plans. I take pleasure in especially mentioning the Quatuor Zimmer, formed by some of Ysaye's advanced pupils, or rather they are no longer pupils but artists, as can be easily judged from their playing. This quatuor gave four séances during the winter, playing several of Beethoven's quartets, as well as some modern music, with good style and understanding. A trio by Edouard Lalo, the part for piano being played by Mr. Storch, the well-known professor of piano, was especially good.
7At the last séance, which took place March 31, the program included, besides a trio and quatuor of Beethoven, a concerto of Bach for two violas, with accompaniment of three 'cellos and a contre-basse. Leon Van Hout, professor at the conservatoire, played the part for first viola admirably. Another string quartet of young artists is the Schörg Quatuor, which in two séances gave programs including quartets by Beethoven, Schumann, Franck and Brahms, and they were well played.
9I write of these quartets and the programs chosen (as these young artists assuredly deserve to be encouraged) as instances of the good influences Ysaye has exerted among his pupils. The Quatuor Ysaye has left a great void in the delights of chamber music this winter.
11It is true that Mr. Thomson's coming to settle in Brussels must be looked upon in the light of a great consolation as well as an immense advantage, but he has not been here long enough yet to become the idol of the public that Ysaye is, and we can only deeply and sincerely deplore the sad fact that Ysaye is to be no longer among us. I feel confident, however, that what is so great a loss to us will prove an infinite gain to the United States. I am sure that Ysaye will stir up much enthusiasm and will give new life to the musical movement in New York. Still in many ways there seems to me disadvantages in so great a virtuoso giving himself up, which he will be obliged to do more or less, to the training and leading of an orchestra, and, although as violinist Ysaye has no superior, this great master has not "et attained the superiority of the Germans as 'chef d'orchestre.'" He leads as the great musician that he undoubtedly is, but he has not thus far attained to the complete control of his orchestra that is possessed by such leaders as Mottl, Richter and Weingaertner. I am sure the difference will be at once observed between Seidl and Ysaye.
13In leaders of orchestra Brussels is still far behind Germany, and this is especially noticeable after having heard Mottl and Weingaertner, as has been the case this winter, lead the same orchestra; the contrast is very marked.
15At the conservatoire where Mr. Gevaert leads, the movements are all dragged to an almost painful degree; there is correction, and the orchestra itself is excellent and the instruments are good, but there is a most decided lack of life and color, and with Mr. Dupont, leader of the popular concerts, there is much to be criticised as regards a careful and musical interpretation. Our "chefs d'orchestre" here would do very well to take some lessons from their German neighbors. Therefore, although Ysaye is still not yet on the same level with the Germans as "chef d'orchestre," Brussels cannot afford to lose him, and it is with the deepest regret that we bid him farewell, and I am sure I express the sentiments of all Brussels when I say that, in spite of our sorrow at losing him, we wish him the best of luck and success in his new enterprise.
17As the opera season wanes its brilliance increases. Van Dyk is here now singing in "Tannhäuser," "Lohengrin" and "Manon," and with his usual success. Everyone agrees in thinking that although his voice seems tired and to have lost some of its freshness (which surely is not to be wondered at after a season of Wagnerian roles), still his interpretation is so fine, his understanding of the personage and phrasing is so complete that his listeners are subjugated and charmed. I consider him an ideal Lohengrin; he seems in very truth the mysterious knight, and to be penetrated with the beauty of the character. He not only shows himself a great artist in putting into relief the artistic beauty, but he expresses the intellectual side as well, making us feel the thought and sentiment which Wagner wished to express. This is the highest expression of art, to penetrate the listeners with the same sentiments that inspired the author and are communicated to us by the artist.
19In this way of understanding and expressing art we can penetrate into the inner sanctuary of true art, which cannot fail to elevate and strengthen all who study it with the proper spirit. All this applies equally well to Van Dyk's singing of Tannhäuser. His comprehension of the role is very remarkable, putting into strong relief the salient phases of the character and the influences in their subtle effects. The first performance of "Manon" will not take place until Monday, so I must leave that for next time.
21What I have said in regard to Van Dyk is also applicable to Miss Marie Brema, who has just been giving a series of performances here—"Orpheus" and "Samson and Dalilah." Her voice has lost a great deal since last year, and it is especially noticeable in the role of Dalilah, which is far too low for her range of voice, so that the medium notes are quite without timbre, whereas the higher ones, F and G, for example, were clear as a bell. It is a great pity to spoil a fine voice by giving it work to which it is unequal, and this is Miss Brema's case. In "Orpheus" the lack of voice is not so marked, as the role is more suited to her range, but both as Orpheus and Dalilah her acting is so wonderful and the interpretation shows such consummate art that we easily forgive defects of voice.
23"Les Maitres Chanteurs," as it is called here, has been one of the great attractions at the Opéra this year. After hearing this wonderful work of genius it is almost impossible to realize that anyone with any appreciation of music could have written the following in regard to it, nevertheless it is true that in 1885, in the Revue des Deux Mondes, appeared these words: "This music of 'Les Maitres Chanteurs' is not only tiresome and boring, but ugly. Two important things are lacking, rhythm and tone" ("le rythme et la tonalité"). We either have different ears to-day or else understand very differently.
25This music seems to me absolutely sparkling with life and melody and means so much; there has been so much written about this great work that it would be superfluous for me to enter into any analysis. I was, however, enthusiastic over the opera, although the representation was but an indifferent one; still, the beauty of the work is so great that it makes us even overlook, although we cannot help regretting, an indifferent interpretation. One enthusiastic artist told me that she had subscribed for all the performances of the "Maitres Chanteurs," and was simply overwhelmed with its beauty and drank that in without criticising the performers.
27I am told that early in the season it was more carefully given, but now it is a somewhat lazy and go-as-you-please affair. Mr. Flon by no means has a very strict discipline and does not seem to tire himself in wielding his baton, whereas the musicians in the orchestra saw away on their instruments with about as much soul as if they were in reality sawing wood. Among the artists on the stage the men were not so bad. Mr. Seguin, as Hans Sachs, was excellent, by far the best. Mr. Journet as Pogner was also good and has a fine voice. Mr. Gilibert as Beckmesser did well, but Mr. Cossira was by no means an ideal Walter. Mlle. Mastio, although very pretty, did not do justice to the part of Eva, either in singing or acting.
29"Les Maitres Chanteurs" was first given in Brussels, in 1885, but since 1889 it has been laid on the shelf until this winter, when probably, following the example of Paris, it was again brought out here, and with success. It is quite to the taste of the Brussels public and has constantly drawn good houses. "Hänsel and Gretel" has been one of the novelties this year. Much curiosity was evinced as to how this exquisite little opera would take here. To judge by the night I was there, it had but little success, for the house was almost empty; still, there have been a good many performances of it.
31I found the music simply delicious. It is perfect in its way, thoroughly musical, and so expressive and descriptive. The performance as a whole was pretty good. Madame Landouzy as Gretel was rather too much of a raga-muffin instead of the poetical little German peasant girl that Humperdinck's music conjures in our imagination. "Fervaal," by Vincent d'Indy, was again brought out with little success. Nearly everyone says it is uninteresting. The hundredth performance of "Herodiade" took place a few nights ago. Massenet came from Paris in order to be present. He did not, however, lead the orchestra, as some expected, but was modestly hidden in a box until he was called before the public.
33The last nights of "Faust" and "Manon" are advertised for this week, and in a few days the opera will be closed and the orchestra will migrate to their summer quarters, the Vauxhall. Next week the last concert of the season will take place. It promises to be a most important affair. It is to celebrate the twenty-fifth anniversary of Mr. Dupont's career as chef d'orchestra. Van Dyk and Madame Caron are to take part, but of that and the account of recent concerts I will give in my next.
35HELEN S. NORTH.
37Trieste.
39Goldmark's "Queen of Sheba" was on March 17 produced for the first time at Trieste. The difficult tenor part was assigned to Giuseppe Cremonini. Although he was somewhat embarrassed at first, he received warm applause in the second act.
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