Scan 20
Musical Courier 1900-04-11: Vol 40 Iss 1046, 1900
51 lines. Read by computer on 21 September 2026. Printed page 21. See the scan on archive.org.
1ousy. Mascagni's "Cavalleria Rusticana" is the story of an illegitimate affection of those who are wedded. Becker's "Praise of Women" is the narration of the vengeance of a seduced gypsy woman. In Lortzing's "Wildschutz" a bridegroom sells his bride to a married profligate; and his "Undine" tells the story of illegitimate love in married life. Goldmark's "Queen of Sheba" is a tale of infidelity of the married; and his "Merlin" brings forth the story of the love adventures of a very son of Satan. Meyer-Helmund, in his "Love's Battle," tells the story of infidelity, jealousy and suicide; Foster, in his "Lorie," depicts broken marriage vows; Gramann, in his "Melusine," treats of the same theme, and in his "Irrlicht" describes illegitimate love. Rubinstein, in his "Demon," describes the love adventures of the devil with a woman, and Richard Wagner, in his "Flying Dutchman," treats of forbidden love; in his "Tannhäuser," of infidelity and unchaste things; in his "Parsifal" he describes abnormality, and in his "Walküre" treats of marital infidelity and incest.
3WHAT CINCINNATI HAS HEARD.
5A GLANCE at the complete list of works played by the Cincinnati Symphony Orchestra reveals the catholic tastes of Conductor Frank Van der Stucken, also the presence of some music seldom if ever heard in this city. Mr. Van der Stucken knows the value of the Neo-Belgian school, and he is not insensible to the brilliant attractiveness of Richard Strauss. Here is the list:
7Bach-Abert—Prelude, Choral and Fugue.
8Beethoven—Symphony in E flat major ("Eroica"); No. 3 (op. 55); Symphony No. 6, F major (Pastoral).
9Jan Blockx—"Kermesse Flamande," from "Milenka."
10Brahms—Symphony No. 4, E minor (op. 98); Concerto for Violin, in D major (op. 77).
11Bruch—"Kol Nidrei" (op. 47).
12Richard Burmeister—Concerto in D minor, for Piano (op. 1).
13Chopin—Concerto for Piano and Orchestra, No. 2, in F minor.
14Dvorák—Symphony No. 8, in E minor, "From the New World."
15Arthur Foote—Suite in D minor.
16Alex. Glazounow—Symphony in C minor, No. 6 (op. 68).
17Glinka—Overture, "Ruslane and Ludmilla."
18Gounod—Recitative and Aria, "She Alone Charmeth My Sadness," from the "The Queen of Sheba."
19Haydn—Concerto for Violoncello, in D major; Symphony in C major, No. 7.
20Ch. Kurth—Symphonic Poem, "Almansor."
21Liszt—"March of the Crusaders," from "The Legend of St. Elizabeth;" "Les Preludes;" Symphonic Poem, "Les Preludes" (C major).
22E. A. MacDowell—Suite in A minor (op. 42).
23Massenet—Aria from "Herodiade;" Entr'acte, "Don Cesar de Bazan."
24Mozart—"Maurerische Trauermusik."
25Alexander Ritter—"Charfreitag und Frohneleichnam" (Good Friday and Corpus Christi).
26Saint-Saëns—Aria, "La Cloche;" "Le Rouet d'Omphale" (op. 31).
27Schumann—Concerto for Piano and Orchestra in A minor (op. 54).
28Scriabine—Reverie, E minor (op. 24).
29Max Schillings—Overture, "Ingwelde."
30Richard Strauss—Prelude, Second Act, "Guntram" (op. 25).
31Ambroise Thomas—Recitative and Aria from "Hamlet."
32Pier A. Tirindelli—Concerto for Violin, in G minor.
33Tchaikowsky—Concerto for Violin, in D major; Symphony in E minor, No. 5; Theme and Variations from Suite No. 3.
34F. Van der Stucken—"Shir Zion" (Songs of Zion), Festival March; Interlude, "Vlasda" (op. 9).
35Wagner—Aria ("Dich Theure Halle," from "Tannhäuser;" "Siegfried's Funeral March," from "Götterdämmerung;" "Huldigungsmarsch;" "Good Friday Spell" ("Parsifal"), "Kaisermarsch;" Overture, "Flying Dutchman;" Overture, "Tannhäuser.")
36Weber—Recitative and Aria, "Ocean! Thou Mighty Monster," from "Oberon;" Overture, "Euryanthe."
37Felix Weingartner—Symphony in G major (op. 23).
38The soloists who appeared at these concerts were Elsa Ruegger, Robert Hosea, Leonora Jackson, Alexander Petschnikoff, Mamie Hissem De Moss, Vladimir De Pachmann, Louise B. Voigt, Antoinette Szmowska, Pier Adolfo Tirindelli, Richard Burmeister and Sara Anderson.
40It is said that when Henry D. Thoreau lay dying in Concord, his friend, Parker Pillsbury, sat by his bedside; and he leaned over and took him by the hand, and said: "Henry, you are so near to the border now, can you see anything on the other side?" And Thoreau answered: "One world at a time, Parker."
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44In the slangy but characteristic "Billy Baxter's Letters" there is a funny account of a visit to the opera. The late W. J. Kountze, Jr., is the author, so I am informed by Percival Pollard. Here is the story:
46"I was over in New York with the family last Winter, and they made me go with them to 'Die Walküre' at the Metropolitan Opera House. When I got the tickets I asked the man's advice as to the best location. He said that all true lovers of music occupied the dress circle and balconies, and that he had some good centre dress circle seats at three bones per. Here's a tip, Jim: If the box man ever hands you that true lover game, just reach in through the little hole and soak him in the solar for me. It's coming to him. I'll give you my word of honor we were a quarter of a mile from the stage. * * * About 9 o'clock the curtain went up. After we had waited fully ten minutes, out came a big, fat, greasy looking Dago with nothing on but a bear robe. He went over to the side of the stage and sat down on a bum rock. It was plainly to be seen, even from my true lover's seat, that his bearlets was sorcer than a dog about something. Presently in came a woman, and none of the true lovers seemed to know who she was. Some said it was Melba, others Nordica. Bud and I decided it was May Irwin. We were mistaken, though, as Irwin has this woman lashed to the mast at any time or place. As soon as Mike, the Dago, spied the dame it was all off. He rushed and drove a straight-arm jab, which, had it reached, would have given him the purse. But Shifty Sadie wasn't there. She ducked, side-stepped, and landed a clever half-arm hook which seemed to stun the big fellow. They clinched, and swayed back and forth, growling continually, while the orchestra played that trembly Eliza-crossing-the-ice music. Jim, I'm not swelling this a bit. On the level, it happened just as I write about it. All of a sudden someone seemed to win. They broke away and ran wildly to the front of the stage with their arms outstretched, yelling to beat three of a kind. The band cut loose something fierce. The leader tore out about $9 worth of hair, and acted generally as if he had bats in his belfry. I thought sure the place would be pinched. It reminded me of Thirsty Thornton's dance hall out in Merrill, Wis. * * * Of course, this audience was perfectly orderly, and showed no intention whatever of cutting in, and there were no chairs in the air, but I am forced to admit that the opera had Thornton's faded for noise. I asked Bud what the trouble was, and he answered that I could search him! The audience apparently went wild. * * * After that, for three solid hours Rough House Mike and Shifty Sadie seemed to be apologizing to the audience for their disgraceful street brawl, which was, honestly, the only good thing in the show. * * * Far be it from me knocking, but any time I waht noise I'll take to a boiler shop or a Union Station, where I can understand what's coming off. I'm for a good mother show. Do you remember 'The White Slave,' Jim? Well, that's me. * * * 'The White Slave' has 'Die Walküre' beaten to a pulp, and they don't get you for three cases, gate money, either."
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50Professor Kashkine, a close friend of the late Peter Tchaikowsky, has written his recollections of the great Russian master, from which an abstract is given. Since the year 1863 a musical society had existed in Moscow, for which Nicolas—brother of Anton—Rubinstein undertook the harmony lessons; but the time at his disposal was so
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