Scan 6
Musical Courier 1898-06-01: Vol 36 Iss 952, 1898
96 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1THE MUSICAL COURIER.
3SOME CHICAGO ADVERTISEMENTS.
5HARRIET DEMENT PACKARD,
6SOPRANO.
7Address Musical Courier, 224 Wabash Ave., Chicago.
9FREDERIC LILLEBRIDGE,
10PIANIST;
11Mrs. Charlotte Lachs-Lillebridge,
12SOPRANO.
13Available for Concerts, Recitals, &c.
14For terms and dates address
15THE MUSICAL COURIER,
16224 Wabash Avenue,
17CHICAGO, ILL.
19BESSIE O'BRIEN,
20MEZZO SOPRANO.
21MARCHESI.
22ORATORIO, RECITALS, MUSICALES.
23Address care MUSICAL COURIER office,
24206 Wabash Avenue, Chicago,
25or 130 West Mason Street, Springfield, Ill.
27MARY WOOD CHASE,
28Concert Pianiste.
29For terms, dates, &c., address
301000 Steinway Hall, Chicago, Ill.
32ESTELLE ROSE, …Contralto,
33Oratorio, Concert, Recital.
34Steinway Hall,
35Chicago, Ill.
37SPIERING QUARTET.
39Bachmann for the first time Wotan. The cycle will be conducted by Dr. Muck.
41* * *
43The summer season at the New Royal Opera House (formerly Kroll's) will be opened with a newly studied performance of Auber's "Massaniello" ("La Muette de Portici"). The first novelty of the season will be Johannes Doeber's opera "Die Grille" ("The Cricket"). Lassalle is to appear at Kroll's in the part of Don Giovanni and of Escamillo. It is also given out that Madame Sembich and her Italian company, with which she is just now "guesting" in Vienna, will be heard at the New Royal Opera House in the course of the summer.
45* * *
47In Breslau, night before last, "Tristan and Isolde" was given, with Madame Litvinne in the female title part. The artist, whom you all know, but who is as yet a stranger in Germany, is favorably criticised, especially her moderation in acting and her not very strong, but well trained, dramatic soprano voice. In appearance she is described as resembling the now notorious Princess Chimay. Walnoefer was the Tristan.
49* * *
51The date for the next Tonkünstler gathering at Mayence has again been changed, and it is now given out that the meeting is to take place on the days from June 26 to 29.
53* * *
55Possart's newly mounted version of Mozart's "Magic Flute," with which he took Munich by storm, is described as a triumph of mise-en-scène. He makes of the opera what is technically called in German an Ausstattungsstück, or what we would term in the United States a "Black Crook" show. "Mozart without this toilet would have been preferable," says the Munich correspondent of the Berlin Courier.
57* * *
59A Scandinavian Music Festival "in grand style" will be held at Bergen this summer during the days of from June 27 to July 3. Three big concerts will be given, each of which will be once repeated. Only works of Scandinavian composers will be performed. Choral, orchestral and solo compositions by Svendsen, Grieg, Johann Selmer, Sinding, Ole Olsen and other less well-known authors will, together with some piano pieces and lieder, complete the programs. The composers will conduct and perform their works in person. The orchestra of seventy-two will be that of the Concertgebouw of Amsterdam. The Bergen chorus numbers 400, and is said to be a very good one.
61* * *
63Sarasate sends me the programs of four chamber music soirées which he intends to give in Paris at the Salle Erard on May 14, 17, 21 and 24. For particulars please watch the columns of Miss Fannie Edgar Thomas.
65* * *
67Director Morwitz will open his summer opera at the Theater des Westens on June 5. He sends me a complete list of his personnel, but as the names are not familiar to you I refrain from printing them and leave all further comment until it is time to write about the performances.
69* * *
71Still further in advance is the list of conductors whom Director Max Hofpauer has succeeded in securing for his new undertaking, a second winter opera to be given at the Theater des Westens during the 1898-99 musical season. His kapellmeisters are Julius Ruthardt, the successor of Anton Seidl at Bremen, and Richard Fried, late of the Damrosch Opera Company. May they live and conduct long!
73* * *
75Among the callers at the Berlin office of THE MUSICAL COURIER during the past few days were Miss Marguerite Melville, the little American composer-pianist; Concertmeister Gruenberg and his talented pupil, the thirteen-year-old violinist, Lottie Stubenrauch, whom you heard in the United States last season; Prof. Reinhold Becker, the Dresden composer; Miss Marie de Rohan, the American soprano, and Prof. Franz Rummel, the eminent pianist.
77MAY 14, 1898.
79As in years gone by I append at the close of the season a list of the concerts arranged here by the Concert Direction of Hermann Wolff. Its activity comprises by far the greatest portion of all the concert arrangements made in Berlin, and during the past musical season of 1897-8 no less than 351 local musical affairs were launched under Wolff's auspices. Of these 173 took place in Bechstein Hall, ninety-nine at the Singakademie, fifty-six in the Philharmonie, five in the Architects' Building, five in the Emperor William Memorial Church, four in the Aula of the Falk Gymnasium, three in the concert hall of the Royal Comedy, three in the Hotel de Rome concert hall, and one each in the Royal High School for Music, in the hall of the Society of Friends and in the Stolberg Palace. In no less than seventy-five of these concerts the Philharmonic Orchestra assisted.
81Of the entire number of concerts seventy-eight were devoted to the piano, among which were twelve with orchestra; twenty-seven violinists' concerts, eleven of which were given with orchestra; four concerts of violoncellists, three of which were with orchestra; 113 were vocalists' concerts, only five of which were given with orchestra. Two concerts were given by conductors who wanted to introduce themselves to the public as such, and four concerts were given by composers with new works of their own. Four concerts were given by the Meiningen Court Orchestra under General Musikdirektor Steinbach's conductorship. To this must be added the usual subscription concerts, ten Philharmonic concerts under Nikisch's direction, four Stern Singing Society and three Philharmonic Chorus concerts. One orchestral concert with organ was given by Clarence Eddy; twenty-four evenings were devoted to chamber music. The Berlin conservatories gave sixteen pupils' concerts; twenty-one evenings were devoted to recitations and seven charity concerts took place during the season. Among the foreigners who took part in these concerts the following nations were represented: Eleven concerts were given by artists of French nationality, nine English, eight American, five Hungarian, four each Hollandish, Russian, Portuguese and Danish; one each Swedish and Spanish.
83Of world-renowned artists who appeared in Berlin during the past season I mention Eugen d'Albert, Ferrucio Busoni, Teresa Carreño, Jose Hofmann, Clotilde Kleeberg, Vladimir de Pachmann, Conrad Ansorge, Frederic Lamond, Edouard Risler, Josef Joachim, Sarasate, Willy Burmester, Petschnikoff, Arrigo Serato, Marcella Sembrich, Lilli Lehmann, Karl Scheidemantel, Eugen Gura and Frau Amalia Joachim.
85* * *
87As I predicted, the Berlin Musical Exhibition for the benefit of the Wagner monument fund does not prove a strong attraction. Despite the great array of big names and considerable free advertising and lots of puffs in the papers the public takes little or no notice of the affair. I was about the only visitor in the entire Mess Palast last Thursday, and a like experience had Eugenio di Pirani, who writes to his paper as follows: "When I visited the Music Exhibition, so pompously opened a week ago, I was astonished to find nobody there but the officials. I asked them whether the absence of the public was an accidental one, but I received the answer that such was not the case, and that the general public all along 'shone through absence.' The inspection I thereupon undertook taught me that this failure to attend is not caused through lack of artistic interest on the part of the public, but simply through the insufficiency of what is offered. The inappropriate place selected for the localities, the lack of organization, the unskillful grouping as well as the paucity of the objects exhibited, show a naïveté in the government of the undertaking which is doubly astonishing in view of the fact that so many fine general and especially musical exhibitions have taken place of late. The only thing that is really worth seeing is the royal collection of old instruments, and that can be seen by everybody much more completely and more systematically arranged in the old Bau Akademie on the Schinkelplatz. There remains therefore only one other 'clou,' the autograph and picture collection of Nicolaus Manskopf, of Frankfort-on-the-Main, which in somewhat enlarged scope represents about the same affair as the private collection of most every musician or amateur. This he can show in his salon, where it will prove entertaining and interesting, but it does not suffice for a public musical exhibition. In it can be found also very doubtful rarities, such as everybody can secure without great difficulty. Of what value for a public exhibition, for instance, are the pictures of de Reszké, a singer who appears in London now daily; of Stanford, a pretty unimportant living English composer; of Ada Adiny, an equally unimportant vocalist; of Widor, Perne, Mlle. Chamade and others?"
89And again the different groups show gaping holes and are of a desolate incompleteness. In group II., under "Trade and Musical Press," I missed the most eminent of musical papers. Under "Literature of the Present Day" not a single music publisher of importance, such as Bote & Bock, Timrock, Schlesinger, Fuerstner (to name only the Berlin firms), is represented. In group III., "Music Teaching," we find under "statutes of organization, statistics and yearly reports of music schools and conservatories," simply and solely the statutes and teaching works of one single conservatory. Taken for granted that such an exhibition has any purpose at all, where then is the Royal High School for Music, the other great Government musical institutes of Germany, the Berlin conservatories of Stern, Eichelberg and others?
91In group IV., "Musical Instruments," outside of Grottrian, Helfrich & Schulz, of Braunschwig, and Schiedmeyer, of Stuttgart, no piano factory of importance is represented. Neither Steinway & Sons, nor Bechstein, nor Bluthner, nor Ibach, nor Duyssen, nor any of the many other well-known manufacturers have exhibited.
93Among the objects exhibited I found two programs of concerts conducted by Weingartner at Paris a few weeks ago. Are these rarities? And, if this be the case, where are the programs of the concerts likewise conducted at Paris by Nikisch and Mottl, or of those conducted by Dr. Muck at St. Petersburg and Madrid? Hermann Wolff could have furnished an interesting collection of this sort.
95But if we are to consider the entire undertaking, the receipts (?) of which are to be devoted to a monument of
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