Scan 16
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
79 lines. Read by computer on 21 September 2026. Printed page 17. See the scan on archive.org.
1Music in Copenhagen.
2PHILHARMONIC CONCERT.
3PROGRAM.
4Overture to Barber of Bagdad………………………….Cornelius
5Concerto in A moll, op. 54, for piano and orchestra……..Schumann
6Adagio from E dur Symphony………………………….Bruckner
7Soli for Piano—
8Prelude (Holberg Suite)……………………………….Grieg
9Arietta…………………………………………………….Leo
10Hungarian March………………………………………Schubert-Liszt
11Norwegian Symphony………………………………….Hågg
12Soloist: Leonard Borwick.
14THE musical season opened here on Saturday evening, October 21, with the first concert of the Philharmonic Orchestra. By the earnest applause which met the conductor, Victor Bendix, upon his entrance, one would judge this a music-loving public. The program was not sufficiently Scandinavian in character to please the searcher after types, but quite sufficiently so for the musician, who ever believes that "music is not national, but universal."
16This orchestra, though composed of good material, did not give response as a single instrument. Whether this was entirely owing to lack of personality in the conductor, or whether the cause was more ingrained, it is difficult to say. Suffice it to admit there was a decided lack of dominant force, and of the element of magic not a trace.
18This did not however prevent a good share of musical excellence being present in the evening's work. In the "Barber of Bagdad" Overture, for instance, all the beauties of phrase work were well brought out, the idea of the composition clearly stated and the various melodies and motifs which come and go like a company of people, were delightfully received and dismissed.
20The brasses were unusually full and rich, the woodwind instruments insignificant and the strings now and again impressed one as harsh and careless. On the whole one felt there was much worth and power within this body of musicians, who needed to be molded a bit by some master hand.
22Victor Bendix is not a born conductor; he does not command. He showed a respect for the masters, since he did not allow himself to show much individuality in interpretation, but kept close to the text, at the cost of color and strength. His tempi clear cut, his reading honest, he might be considered not a powerful, but a good average conductor, the summing up of whose work at the end of the year might place him even ahead of other more brilliant, less steady, colleagues.
24The performance of the Bruckner Adagio proved to be rather chaotic. There was not sufficient momentum to carry forward such a large-bodied composition, so the result was a mass of sounds in disorder, groping vainly after the central idea that should give it raison d'être. Of the Hågg Symphony there is not a great deal to be said. It is chiefly interesting in regard to its composer and his country, and for this reason the short sketch of Hågg given below may not come amiss.
26Leonard Borwick as pianist added much to the merit of the concert. He is one of a class of musicians we more rarely hear in America, whose art dwells in quiet perfection. We rush so madly after comets that we do not have leisure to appreciate the steady light of fixed stars. Borwick is a most delightful pianist, accurate, finished, delicate, yet strong and broad, with a power of reserve force truly astonishing in so slight a man. In the Schumann Concerto he showed dramatic fire, as well as refinement, and he gave a very fresh interpretation to the somewhat overplayed, though always beautiful, composition.
28Johann Adolphus Hågg came as a very young musician from Sweden to Copenhagen in 1870 to study under Nils W. Gade. Later he went to Berlin to study under Keil, where he was considered one of the most promising students. His art serene and joyous, his personality all that was charming, on his return to his country he received all the praise and help a young artist could wish, and was soon on his way to be the pride of his country. But through the influence of Jenny Lind, it is said, his impressionable nature took a self-analytical turn, and under his morbid introspection of his art, lacking sustenance, wilted away. He was obliged to seek refuge in an insane hospital, where he dwelt for twenty years, considered by his friends as lost. Only a few years ago, however, he was declared cured; his melancholia had left him, and with his return to the world of living healthy his joyous art came back. He sought the quiet life of the country in Sundsvall and there took up his work anew.
30Doubtless in Scandinavia there is a strong desire to encourage this musician who has suffered from the dreaded malady peculiar to our time. His music is described as being "free from attempts at effect, opposed to the storm and stress of modern Scandinavian music, full of the purity of form which he reverenced so in Mendelssohn and Gade. His musical thoughts are expressed in logical sequence, his melodies, which are aristocratic and unusually plentiful in this unmelodious afe, are worked up with fine case." The Norwegian Symphony perhaps sins through the very merits of its composer. It is characterless because he is opposed to the rugged strength, the rich turbulence of the Norwegian nature. His piano music, however, is so highly recommended (and piano culture has reached a high point here) that for those interested in Swedish music it may be of interest to have the following list of piano compositions:
32Albumblad.
33Three suites in gammle stil.
34Sonate, 1, D moll.
35Sonate, 2, F moll.
36Suite Sentimentale.
37Five Fantasie.
38Kleine Ballade.
39Blumenstück.
40Tarantelle.
41Rom. and Intermezzo, piano and violin.
42Vals, 1, H dur.
43Vals, 2, E moll.
45LEONARD BORWICK PIANO RECITAL.
46PROGRAM.
47Fantaisie, C moll………………………………………Bach
48Andante with five variations, arranged for piano by L. Borwick………………………………………Mozart
49Sonata, A moll, op. 42……………………………….Schubert
50Prelude and Fugue, E moll, op. 35, No. 1, Lieder ohne Worte, C dur and Fis moll………………………..Mendelssohn-Bartholdy
51Scherzo, No. 3, Cis moll, op. 39……………………..Schumann
52Carneval, op. 9………………………………………Schumann
54There has just ended a concert one might be tempted to call flawless: the piano recital of Leonard Borwick, which was given at the Koncert Paleets, in the smaller hall. So quiet, so unpretentious and straightforward, this English pianist yet possesses an entire mastery over the piano, from the subtlest nuance of tone of which it is capable to its fullest sonority and virile power of sound. His touch is a marvel of incisive lightness, resulting in a tone at once sweet and strong. The chief sources of satisfaction are found in his well-thought-out interpretations, his absolutely clear phrasing and his unerring obedience to rhythm.
56These qualities, added to a deep undercurrent of poetic feeling, contribute a substratum of excellence of which the audience is serenely conscious. He does not bewilder you, he has no stridently obvious originality. He simply fills you with the delight of music. When you have left the hall you can almost forget the performer in the remembrance of the music he has made to exist.
58The Bach Fantasia was very, very nice, and portrayed a delicate mastery over the stern music that quite transformed it into a thing of beauty for even enemies. Schubert's Sonata, a composition so full of rich and strong beauty, was played to perfection, the performance giving full satisfaction to one's ever-present hunger for the beautiful. A storm of applause, however, came after the rendition of the Scherzo of Chopin. It merited well such a recognition, for it was nobly played. Those passages of runs in weird harmonies, which one always looks eagerly for, were played with maddening skill. They scarcely seemed to be played—they but came into a sort of diaphonous existence. Quite taking away one's breath, or else one would have surely given way to the desire to exclaim: "Oh! oh! oh!" each time they came. The pianist looked so innocent of doing anything unusual you would have said the music had made itself heard in spite of him. He possesses in a high degree this very rare charm of unself-consciousness. Another concert will be given by this artist on Monday next, in the large hall, the program including compositions of Bach, Händel, Lem. Leo, Daquin, Schumann and Liszt. He then continues his concert tour, the Mecca of which is Berlin.
60An account of the musical world at Copenhagen should properly begin with the Royal Opera, which opened the October 1. But although the performances average well, there is nothing to make them of special note. The company is said to possess one star, Herrold, the tenor; besides two favorites a little past their prime, although still enjoyable: Simounsen, a forcible baritone, and Madam Ulrich, soprano, while the rest of the number are more or less indifferent. Their salaries are small, and their position entirely confined to the Royal stage. Consequently those who are capable prefer to visit other countries.
62Throughout the winter opera nights occur two or three times a week, alternating with the play, which, by the way, is excellently well done here. An interesting figure is Svensen, the conductor of the Royal Orchestra, full of individuality and possessing quiet force. The repertory so far offered has confined itself to "The Flying Dutchman," "Carmen" and "Cavalleria Rusticana," called here "Paa Sicilien." But doubtless the opera, as well as everything else, will take on greater brilliancy after the return of royalty to town.
64A. L. W.
66Italian Language.
68NO one can sing Italian music unless he or she knows at least sufficient of the Italian language to understand the vowels and consonant combinations and the accents and the special emphasis. The intelligent world at once discovers automatic texts, and it is a reflection upon the singer to use the text automatically.
70Prof. Eduord di Tempora, 51 Spring street, will, in a limited number of lessons, teach sufficient Italian to guide the singer. Roman certificate. Charges moderate.
72Evelyn Ashton Fletcher.
74Miss Evelyn Ashton Fletcher will be in Boston from December 1 to 21, instructing a class of teachers. She has already sixty-five teachers in that location, and will visit their classes for the purpose of criticising and reviewing their work. Such enthusiasm prevails wherever Miss Fletcher's work is known and understood that her time is rapidly being all bespoken for lectures and instruction of teachers.
76Recently Miss Fletcher gave a lecture at the Boese School in New York city, for which 600 invitations were issued. The audience were delighted with the lecture and work shown, the illustrations being by small children.
78On November 27 Miss Fletcher will lecture before the Women's Club, of Brooklyn, N. Y.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.