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Musical Courier 1898-06-01: Vol 36 Iss 952, 1898
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1was beautifully executed, with the exception of some uncertainty in the horns. The finale was rendered with energy, verve and concentrated force.
3To notice the work of the soloists, Ben Davies sang the recitative and aria, "Walt Her, Angels," from Händel's "Jephtha," a number that has made his name famous as an oratorio tenor the world wide over. He imparted to it a nobility and pathos that marks him an artist. The tenderness of the last words of the recitative, "I can no more," was an instance of the power of a vocalist over human emotions, when he has not only the art, but the inspiration. His enunciation is beautifully distinct, and, although in the upper register his voice is largely made, depending upon the use of falsetto, the artistic impression never fails. But it is in oratorio that Mr. Davies excels. Less happy was he in the two trial songs from "Meistersinger." His conception of "Am stillen Heerd" was not the best, and his interpretation lacked in the qualities of unction and ease. The second, "Now Begin," was better by far, although his voice faltered some on the last high note.
5Mrs. Josephine S. Jacoby proved herself a thorough artist in "The Three Gypsies," by Liszt. She has a rich contralto voice, of which there are few counterparts, which seems to be equal to all the demands made upon it. It has a glow and fullness that are rarely found, and by an unusual combination unites the lyric with the dramatic quality. Her interpretation of this difficult and characteristic song by Liszt was true to every shade of sentiment. She infuses into it the elemental gypsy character. The violin obligato was finely played by L. Kramer, concertmeister of the orchestra.
7Mrs. Corinne Moore Lawson, soprano, sang the aria "Der Hirt auf dem Felsen," by Schubert, with clarinet obligato by J. Shreurs. Her conception of this classic bucolic was thoroughly artistic. There was the smoothness of velvet in her tones, and those that were veiled appeared to be under the influence of a special charm. She held her voice under excellent control, and put into her singing the delicacy of poetry and the inspiration of soul. Mrs. Lawson was greeted with tremendous applause and recalled several times.
9The third concert on Wednesday evening, May 25, presented the following program:
11Chorale and chorus from the Reformation Cantata…Bach
12Chorus, organ and orchestra.
13Scene and Aria, Wie nahle mir der Schlummer,
14Der Freischütz……………………………Weber
15Miss Macintyre.
16Symphony No. 2, D major, op. 73…………….Brahms
17Overture, Nature, op. 91……………………Dvorák
18Aria, Prayer, Tannhäuser……………………Wagner
19Miss Macintyre.
20Scenes from Olaf Trygvasson, op. 50………….Grieg
21The Volva……………………………Miss May Gertrude Stein
22A Woman……………………………Mrs. Corinne Moore-Lawson
23A Sacrificer……………………………Joseph S. Baernstein
24High Priest……………………………Joseph S. Baernstein
25Chorus and orchestra.
27The chorus did its work nobly. The difficulties of the Bach number in the marvelous contrapuntal choral movement never faltered of a correct, steady, devout interpretation. The divisions of the chorus presented a closely woven texture, into which the fragments fit naturally to make up a homogeneous whole. There was not the slightest confusion in the crossing and recrossing of this contrapuntal work, and the grand old spirit of the hymn, underlying all the mechanical development, was carried triumphantly to the close. The tenors showed a noble front in this cantata, and the background of the basses was satisfactory. But the sopranos and altos deserve special praise for the spirit, energy and earnestness with which they sang. The orchestral support entered into the very fibre and essence of Bach's music.
29But to pass to "Olaf Trygvasson." If the Festival Chorus did nobly in the "Reformation" cantata, its work appeared altogether to more advantage in the Grieg number, for the opportunities were better for dramatic results—for expression and the imparting of color. Such chorus work cannot be adequately criticised—it needs to be heard to be appreciated. The chorus "Other Gods Are Now Arising" was given with convincing spirit and power. The crescendos were splendid and reached into a genuine climax of effect. But the triumph of the chorus singing came in the number "Let This Be Told, Thanks! Thank—for the Token!" A dramatic intensity was attained that was positively overwhelming. Here the audience interrupted the continuance of the work twice with applause. The certainty of attack and freshness in the tone volume of the voices were noteworthy features. The singing of the "Temple Dance" chorus, with its variety of contrast, was on an equal plane of merit.
31As for the soloists honors were divided between Joseph S. Baernstein and Mrs. Corinne Moore Lawson. The latter sang her part of "A Woman" with a conception, grace and voice that appealed to the artistic sense. Her tones were of the greatest purity, and of that spontaneity and far-reaching quality that comes without effort. The poetic and sympathetic were combined in her interpretation. Especially grateful was her singing of "Beauteous Weeping Goddess."
33Mr. Baernstein, basso, in his dual part of A Sacrificer and A High Priest, sustained himself as a singer of fine proportions. His voice material is abundant and of the best musical quality. His enunciation is good, and he sings with repose, holding his voice under excellent control. There is in him the make-up of a genuine artist, who has both voice and temperament. This he proved in all his work, notably in the invocations of Scene I.
35Miss Gertrude May Stein, as the Voelva, was a disappointment and failure. To be appreciated this part must be invested with dramatic intensity. Miss Stein has not the voice to meet its demands. In the lower register her tones had such weakness that they could scarcely be heard. The fury of the Voelva increases with the continuance of her incantations, but Miss Stein in the second scene seemed to have lost the little ardor she had in the beginning. Her enunciation, too, was quite indistinct.
37Public expectation was again on the qui vive as to the singing of Miss Marguerite Macintyre, soprano, whose numbers were the scena and aria "Wie nahle mir der Schlummer," from "Der Freischütz," and "Elizabeth's Prayer," from "Tannhäuser." Miss Macintyre did not redeem expectations. Her voice was inadequate and strayed from the pitch.
39The orchestra played the Brahms Symphony in superb style. The Adagio was given with a delicious sense of poetry, and its dramatic portion rendered with terseness and power.
41Beethoven night on Thursday presented the following program:
43Symphony No. 5, C minor, op. 67………….Beethoven
44Missa Solemnis, D major…………………..Beethoven
46It must have been with some misgiving that Theodore Thomas and the festival board decided to give this work again—which bristles with difficulties and dangers for even a great chorus. But it was given at the fourth festival in 1880, and then proved to be so triumphant a success that upon general request it was repeated at one of the subsequent concerts. The ground was taken that the Festival Chorus, joined with the Apollo Club forces, would be amply able for the task, and the judgment was well taken. Under the training of Edwin W. Glover and Bush W. Foley the chorus fitted itself for the work admirably, and steeled itself to stand firm against difficulties which seem on the surface of the score almost insurmountable. Beethoven, in writing his music, never paid much attention either to the capacity of an orchestra or the limitations of the human voice. He wrote for the cause of music and inspiration alone. It appears superfluous to state that the mass was a supreme test for the chorus, but it is a matter of local pride to be able to say that this test was a genuine triumph for the chorus. To describe the difficulties of the fugue which on the amen closes the "Gloria" would be impossible; they must be analyzed and studied to be appreciated. The certainty of attack in the several divisions was absolute and the tone volume was at all times adequate—not overpowered by the orchestra in fortissimo passages. Such shading and expression maintained by a mass chorus in the most astounding technical difficulties as occur in the double fugue of the "Credo" speaks volumes for the quality and training of the chorus. The crescendos were beautifully sustained, and the grades of delicacy and strength were observed as closely and as well as though the entire body of singers represented a single instrument. The "Kyrie" was given with a devotion of spirit that brought up before the mind the solemn services of the church and invited to prayer. The "Gloria" was majestic and awe inspiring. Here the chorus rose and swelled into a majestic burst of harmonious sound in the "Pater Omnopotens." Mr. Kramer played the violin solo of the "Benedictus" with delicacy and exquisite tonal purity.
48As already stated in the daily papers: "Mrs. Josephine S. Jacoby, contralto, in her solo work proved herself a consummate artist. Such mellow, round, full tones might have been selected by Beethoven himself for the Mass. And she possesses equipoise and repose to a remarkable degree, with all the earnestness and reverential spirit she puts into her singing. Simplicity and deep conviction were apparent in her reading of the text." In the opening notes of the "Sanctus" she realized the keynote to the devout spirit of the music, and vocally nothing finer has been heard here. Her voice blended beautifully, and in dramatic expression as well, with that of Mr. Bispham, basso. Nothing more tender and assimilating could have been desired than her singing of the "Benedictus qui venit in nomine Domini." And in the solo of the "Agnus Dei" the sustaining of her notes was marvelously done. Her conception of the text was uniformly artistic. Such singing compels recognition. In the quartets and ensemble work her work was finely proportioned, and throughout she created a marked impression.
50David Bispham, basso, sustained himself as an artist who enters into every fibre of the work he is engaged in. The dramatic fervor with which he sang the opening notes of the "Benedictus" was like unto an inspiration.
52Ben Davies, tenor, was noble and thorough in all his interpretative work, and shared in the honors of the soloists.
54It is meet to mention the organ playing of Arthur Mees in the mass, which was reliable, discerning and artistic.
56Mr. Thomas gave the Fifth Symphony altogether a superb interpretation. This was especially evident in the andante and the last movement. The opening, allegro con brio, was taken too fast. The orchestra both in the symphony and the mass, played with splendid concentration and force. Mr. Thomas himself was pleased, and the audience was pleased with him, for he was called out twice.
58The fifth concert on Friday evening, May 27, was a Schumann night, and offered the following program:
60Symphony No. 4, D minor, op. 120………….Schumann
61Paradise and the Peri, op. 50…………………
62Mrs. Corinne Moore-Lawson, Miss Helen Wright,
63Miss La Nora Caldwell, Miss Gertrude May Stein, Mrs. Josephine S. Jacoby, Ben Davies, George Hamlin, David Bispham, Joseph S. Baernstein.
65Chorus and orchestra.
67The chorus, while not quite up to the standard, lagging at times, and then uncertain in attack and pitch, on the whole did considerable satisfactory work. The delicate touches of Mr. Foley and Mr. Glover in the preparatory training were apparent in the choral texture—with finish and quality. Noteworthy was the singing of the sopranos in the chorus of the "Genii of the Nile"—"Come forth from the waters so bright." The tone volume and expression were excellent.
69Mrs. Lawson's part of "The Peri" was a trying one, and it is all the more to her credit that she did it ample justice. Her conception of it was ideal—noble and elevating. Her veiled notes made much of her descriptive and recitative work the more interesting and charming, while the full beauty and power of her voice asserted itself in the cantabile. The very first solo she sang, "How Blest, Seemed to Me," was sung with a sweetness and simplicity that was assuring. And Mrs. Lawson grew upon the audience as she proceeded. One of her best solos, sung with genuine expression and pathos, was "Poor Race of Men," in the second part.
71Another was the song of the Peri, "Sleep On," in which her voice blended beautifully with the ensemble. How tenderly she expressed the sentiment in the number "Rejected, and Sent From Eden's Door," in the third part! Her high notes were of absolute purity, and of that rare velvety quality which can be more easily appreciated and enjoyed than described in words.
73Mr. Davies gave his part a well sustained interpretation, although he appeared a little weary at times. Art controls his voice—not only its use, but the material, which is
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