Scan 24
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
45 lines. Read by computer on 21 September 2026. Printed page 25. See the scan on archive.org.
1human beings, that they do not dare to be independent, but must needs follow some leader, or conform to some standard, because they have not the courage to stand up for their own opinions in the face of public opinion? And is it not a wise arrangement? The man who is afraid of expressing his own opinion for fear of being laughed at has no opinion worth expressing anyway.
3I believe, Mr. Gemuender, that there is a danger in speaking of some music as being "good," for that presupposes that all music that is not good is bad. It seems to me that after all it must be relative. I will agree with you that "Comrades" is as good music as Beethoven's Ninth Symphony, if you will allow me to add the words "of its kind." "Comrades" is good music of its kind, but I contend that the Beethoven composition is better music because of its superiority.
5I realize that I have but very inadequately presented my side of the subject, and I would that Mr. Gemuender had a more worthy opponent, but I have at least attempted to show that in presenting what is better or best in music, it is not in order to force everybody to like that sort of music, but to give them an opportunity to learn to like it, if they have an innate sense of beauty that will respond.
7Mr. Gemuender approaches Tolstoi on certain sides, though by no means agreeing with that writer in his wholesale condemnation of all so-called exotic art. Mr. Gemuender's is a sort of musical altruism; he thinks the main function of art is to give pleasure—by no means a vulgarizing function, for the word is latitudinous—and if "Comrades" does or the eternal rag-time, why let them that like this sort of thing enjoy it. But he can't convince us that it is great art, despite the relativity of things mundane. Miss Weber makes her points like a veteran critic. Either way the question is of interest, and a perusal of the book will repay its readers, for the author is a thinker on his own lines.
9ASKING QUESTIONS.
10DETROIT, Mich., November 24.
11Will THE MUSICAL COURIER please inform its numerous subscribers why so much notice should be taken of Madame Gadski in daily papers, when well-informed people know that all the statements she makes are lies. Grau did NOT offer any engagement, therefore she did NOT refuse. Bayreuth and Cosima Wagner—bosh!—she came here some years ago with Mr. Damrosch's cheap singers as almost a beginner and sung for a few hundred marks a week, and now, according to the newspapers, no real first-class prima donna is in it with her.
12Thanks for the information.
14ONE WHO IS DESIROUS TO KNOW.
16NO one can account for many of the scare-head notices in the daily press. Whether Cosima Wagner ever offered an engagement to Gadski or not the fact remains that she sang at a concert at the Metropolitan Opera House on Saturday night and her voice and method showed no improvement on the past congested style of vocal emission. We have never ranked her among singers neither has she ever sung to any extent before Continental audiences. She is a foreign importation who is here without any logical reason for we have American girls that can sing her clean off the stage—to use a little good natured slang. Three notes of Charlotte Maconda are worth a dozen Gadski arias—for good, wholesome enjoyment of singing and music.
18Her husband—one Tauscher—was here last year and in Worcester and Indianapolis, as already shown in these columns, denounced the American navy and called Dewey a coward. He should have been deported by the government and his wife sent with him so that the American girl, who is destined to remain a choir singer all her life because of these unnecessary foreign importations, could get some chance to sing publicly under the proper auspices. A more uninteresting singer than Gadski cannot be found on the stage to-day; but she has a "pull," as we call it in politics and this is the land where she has her harvest according to her own statements made in a recent interview. On the Continent she does not earn $1,500 a year. But that is the foreign invasion. Gadski would be foolish not to earn all she can but the situation is ridiculous.
20GOETHE AND BEETHOVEN.
22WHEN Goethe was at Karlsbad in 1812 he wrote to his friend Zelter, with whom he kept up a close correspondence, a letter dated September 12, which ends with the words "Good bye, do not leave us long without news." Then in a postscript the great man adds, evidently because it had just occurred to him that Zelter was a musician, the paragraph, "I made Beethoven's acquaintance at Teplitz. His talent astonishes me, but unfortunately he is a quite untamed personage, who undoubtedly is not at all sorry if he finds the world detestable, but does not thereby make it more enjoyable either for himself or for others. He is, on the other side, very much to be excused and very much to be pitied, as he has lost his hearing, which, perhaps, injures the metrical part of his nature less than the social side. He, naturally of a laconic disposition, is now rendered doubly so by this defect."
24Of this meeting Goethe makes no mention in his autobiographical notes. There is no doubt that the stiff, defiant, angular disposition of the musician, his hardness of hearing, his lack of knowledge of social forms, made an unfavorable impression on the polished courtier, and there is no doubt that the exaggerated manner in which the gushing Bettina von Arnim had written to him about Beethoven made more bitter his disillusion at a personal meeting. Beethoven, on the other hand, had the highest esteem and honor during his whole life for the great poet. He always expressed a deep and remarkable respect for him not only as a poet, but as "the dear, the only man."
26He said in 1822 to his friend Rocklitz that he had known Goethe "God knows how long," and then spoke of the Teplitz interview. "I was not then as deaf as now, but I was already hard of hearing. What patience the great man had with me! How he treated me, how happy he made me! I would have let myself be cut to pieces for him times over. Since the summer at Karlsbad I read Goethe every day, if I read at all. He has killed Klopstock for me." Of the now almost forgotten author of "The Messiah" he said: "He always goes too far with his ups and downs, always maestoso D sharp major. But Goethe is living, and we must all live with him. Let him compose. Nobody could compose as well as he."
28Beethoven had all his life been a reader of Goethe; in his little library Goethe's works held a prominent place, and Goethe was always his favorite among German writers. In his letters, too, he expresses his esteem and admiration for Goethe repeatedly, and the sincerity of his admiration and esteem is proved by his numerous compositions for Goethe's Lieder, which, as he said, "carried in themselves their melody and their harmony," and by his dedication of the "Egmont" music, the overture, the Triumph Symphony, the "Meeresstille and Glückliche Fahrt," op. 112, in the year 1812 "to the immortal Goethe."
30With regard to the Teplitz interview, the account given above by Goethe may be supplemented by a piece of gossip supplied by the ever gossiping Bettina. Writing in 1832 to Prince Päckler she tells how Beethoven played for Goethe at Teplitz, and how the latter did not give the slightest sign of applause. At the conclusion of his playing, Beethoven spoke of a similar cold reception of his playing by the people of Berlin, and then said: "But from you, Herr Goethe, I do not like it. You must yourself know what a thing it is to be applauded by those who are gratified. If you will not recognize me and value me as your equal, who will do so?" Goethe, she adds, was much distressed, and there was a painful scene that was not without enduring consequences. Bettina, as has been said, is not always to be trusted, but in this case the remarks assigned by her to Beethoven are quite in the character of the unfortunate composer.
32One of Goethe's correspondents, Marianne von Willenter, writing to him on June 26, 1821, said that she wished very much that Beethoven would write the melodies for the "Zuleika" Lieder; "he would understand them better than anyone else. I felt this deeply when I heard this last winter the music to 'Egmont.' It is heavenly. He has quite understood you; one might say, indeed, that the same spirit that inspired your words gave life to his notes." Goethe in his reply could not avoid taking notice of his fair correspondent's remarks, and in his letter of July 12 he writes about the difficulty of a composer understanding a poet's words, and concludes: "Beethoven has done wonders in this line, and it was a good idea to arrange the music to 'Egmont' with brief intercalated dialogue so that it could be performed as an oratorio," which is as much as to say that Beethoven had not understood him, and that his music was not adapted to "Egmont." A more striking instance of neglect toward the composer by the poet is given by Schindler.
34In 1823 Beethoven sent out circulars asking for subscriptions for the "Missa Solemnis," and Weimar was one of the courts to which a circular was sent. With the circular Beethoven inclosed a letter to Goethe, who was Ducal Minister, asking for his influence in the matter. Neither the court nor the minister condescended to reply. It may be said that Beethoven's letter was not formulated in the proper court terms, or that the little court of Weimar was not the place for a piece so difficult of execution as the "Missa Solemnis," but be this as it may, the letter demanded an answer.
36If Beethoven had been a young lady of some personal attractions, and had offered to play for Goethe her setting of—let us say—Philina's song (from which Longfellow stole the first line of his "Psalm of Life," and which is not adapted for the perusal of the young person), she would have received a speedy reply. In music the poet cared for the beauty of the interpreter, not of the music. When asked if he had described Frau Sczymanowska as a better player than Hummel he answered: "You must remember that she is not only a great virtuoso, but at the same time a beautiful woman."
38The Butt Concerts.
40MISS CLARA BUTT gave two concerts at Mendelssohn Hall Tuesday evening and Saturday afternoon of last week. Her programs were various and not by any means equally well interpreted. The placing of Miss Butt's peculiar voice is not satisfactory and her forcing of tone in climaxes is greatly to be regretted, as it is bound to impair an excellent natural organ. She sang at the first concert some wretched stuff of Hatton's "The Enchantress." New York has outgrown such tasteless music a quarter of a century. "Che Faro" was too modern in spirit and without the counterpoise of classical repose. The Goring Thomas songs were much better done. Leo Stern gave some very amateurish 'cello playing, his reading of Saint-Saëns' "Swan," Chopin and others being shallow musically and not always grateful as to pitch.
42Saturday afternoon Miss Butt gave "Caro Mio Ben" and "Ah Rendimi" with evidences of intelligence. The familiar "Samson and Delilah" have been better sung by local singers. Perhaps the Brahms "Sandmännchen," which bore the hall mark of Blanche Marchesi, was the best thing on the program. Cowen's pretentious "Light and Darkness," and "Repondir," by Gounod, with organ, violin, harp and piano obligato—true musical flub-dub—were not for a New York audience, not even the oft abused Sunday night audience. Franz Wilczek played with much spirit a movement for Goldmark's piano and violin Suite, and later a Romance by Bruch. Isidore Luckstone played artistically the piano part and the accompaniments at both affairs.
44The opening concert of the Brooklyn Philharmonic Club was given on the 22d to a large and appreciative audience, in Wissner Hall, corner of Fulton street and Flatbush avenue, Brooklyn, N. Y., under the management of Edward H. Colell. The club was represented by an orchestra of forty members. The conductor was C. Rothemund, with E. W. Wilmath as concertmaster. The soloists were Mrs. Walke-Lowe, soprano; J. B. Zellman, basso; Carl Fiqué, pianist, and Mr. Rothemund, violinist. Miss Emma Schlitz and Miss L. Rothemund were the accompanists.
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