Scan 25
Musical Courier 1901-01-23: Vol 42 Iss 1087, 1901
54 lines. Read by computer on 21 September 2026. Printed page 26. See the scan on archive.org.
1Mr. Grau's artists who achieve success be laid on the shelf, metaphorically speaking, about once in so often for an entire season? Simply in order that their reappearance may partake of the nature of a novelty, and that were it not for these periodical seasons of eclipse, the hold, such as it is, that these same artists have upon the public would be lost.
3And all this is the natural result of directing the attention to the performer rather than to the performance.
5They do it differently in Germany, for instance, where reliable stock companies can do business at the same old stand year in and year out, the personnel of the company undergoing only the most necessary changes as the occasion may require, and the only modicum of artistic relief being the occasional "guesting tours" of foreign singers. Yet the members of such a stock company, if they have once gained the favor of the lovers of music in their community by having proved their ability, can reasonably hope to retain it, for to the German the essential thing is the work performed, and he cares comparatively little who interprets it, provided the interpretation be artistically satisfactory. It is this attitude on the part of the listener that has for its natural result the development of a good musician, and for that reason the profit the Germans derive from the good music they hear is infinitely greater, both from an educational and pleasure giving standpoint, than that which is obtained by a public that goes to hear, first of all, the performer.
7We do not know how to listen, and the number of really good musicians, which is now so small, will not increase until the right steps are taken that would make for the betterment of this state of things. And one of the first of these must be to open our ears to the beauty of the music we have an opportunity to hear, and to look upon the individual idiosyncrasies of each performer as a secondary matter.
9The benefit and pleasure to be derived from hearing and comparing with each other many of the world's greatest artists in the various phases of musical activity are not for a moment to be decried, and this we have an opportunity of doing in New York. Only let us not forget in our too close observance of the interpreter that which is being interpreted.
11Breitner Piano and Violin Recital.
13MR. and MRS. LUDWIG BREITNER gave a joint recital in Mendelssohn Hall last Monday afternoon. Mr. Breitner has played before a New York audience, but it was Mrs. Breitner's first appearance here, and it must be recorded that her accomplishments are a worthy second to her distinguished husband. Breitner is one of the most musicianly pianists we have heard in New York, and the fact that his wife is a violinist of temperament and skill makes a combination at once attractive and unusual.
15The program which this musical pair offered might be termed a symphony on the letter S—Schumann, Saint-Saëns and Schütt. Breitner, himself, is evidently an admirer of Schütt, for last year at his début in New York with the Boston Symphony Orchestra, he played that composer's concerto.
17The composition, by Schütt, played by Mr. and Mrs. Breitner last Monday was a Suite for piano and violin, op. 44, of that composer's works. The Suite was played with warmth and even enthusiasm, and both the pianist and violinist captivated the audience with their presentation. The third part, a Canzonetta with variations, was particularly effective, and the last part, a Rondo in the Russian style, proved another section appealing to modern ears.
19In Schumann's second great Sonata in D minor the playing of Breitner at the piano defied all criticism, for it was altogether so intellectual and masterly. A Sonata by Saint-Saëns gave both artists another opportunity, and they made the most of it. This composition is built upon the Saint-Saëns pattern. It is vital, dramatic and surging with modern unrest—the unrest of progress and better things to come. The audience which heard Mr. and Mrs. Breitner was remarkable for its quick appreciation. It was decidedly a musical audience.
21"I don't wonder your nerves are bad this morning," she sweetly responded, "the only wonder is you can keep up such a wearing face and do your work so well."
23"This isn't such a roast," said Calcraft irrelevantly. He had heard these same remarks every morning for more than ten years. "Last night," he proceeded, "the new tenor—"
25"Oh! Cal, please don't read your criticism aloud. I saw it hours ago," she implored—her slightly protuberant blue eyes were fixed steadily upon him.
27"Why, what time is it?"
29"Long past 12."
31"Phew! And I promised to be at the office at midday! Where's my coat, my overshoes! Magda! Magda! Hang that girl, she's always gadding with the elevator boy when I need her." Calcraft bustled about the room, rushed to his bedchamber, to the hall, and reappeared, dressed for his trip downtown.
33"Cal, I forgot to say that Hinweg called this morning, and left his card. Foreigners are so polite in these matters. He left cards for both of us."
35"He did, did he?" answered Calcraft, grimly. "Well that won't make him sing Wagner any better in the Watchman. And as a matter of politeness—if you will quote the polite ways of foreigners—he should have left cards here before he sang. What name is on his pasteboard? I've heard that his real one is something like Whizzina. He's a Croat, I believe."
37She indifferently took some cards from a bronze salver and read aloud: "Adalbert Viznina, tenor, Royal Opera, Prague."
39"So-ho! a Bohemian. Well it's all the same. Crotia is Czech. Your Viznina can't sing a little bit. That vile, throaty tone production of his; but why in thunder does he call himself Hinweg? Viznina is a far prettier name. Perhaps, Viznina is Hinweg in German."
41Tekla shrugged her strong shoulders and gazed outdoors. "What a wretched day," she said, "and I have so much to do. Now, Cal, do come home early. We dine at 7. No opera to-night, you know. And come back soon. We never spend a night home alone together. What if this young man should call again."
43"Don't stop him," her husband replied, in good humored accents, as he bade her good-bye. He was prepared to meet the world now; and in a jolly mood. "Tell your Hinweg or Whizzerina, or whatever his name is, to sing 'Tristan' better to-morrow night than he does 'Siegmund,' or there will be more trouble." He skipped off. She called after him:
45"Cal, remember your promise."
47"Not a drop," was the answer, and the double slamming of the street doors set Tekla humming Hunding's motif in "Die Walküre."
49II.
51Her morning room was hung with Japanese umbrellas, and, despite the warning of friends, peacock feathers hid from view the walls; this comfortable little boudoir with its rugs, cozy Turkish corner and dull sweet odors was originally a hall bedroom; Tekla's ingenuity and desperate desire for the unconventional had converted the apartment into the prettiest of the Calcraft flat. Here, and here alone, was the imperious critic forbidden pipe or cigar; cigarette he abhorred, therefore Tekla allowed her favorites to use them. She became sick if she merely lighted one, so her pet attitude was to loll on a crimson divan and hold a freshly rolled Russian cigarette in her big fingers covered with opals. Her male friends said that she reminded them of a Frankish slave in a harem; she needed nothing more but Turkish trousers, hoop earrings and the sad, resigned smile of the captive maiden.
53It was half-past five in the dark, stormy afternoon when the electric buzzer warned Tekla of visitors. A man was ushered into the drawing room, and
The computer misreads some letters and numbers. Where a name matters to you, read the scan.