Scan 9
Musical Courier 1901-04-24: Vol 42 Iss 1100, 1901
58 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 10. See the scan on archive.org.
1MUSIC IN BROOKLYN.
3If Richard Strauss is a philosopher (certainly we know he is a profound thinker) he must realize that the musicians of this generation are more charitable than those who harassed Beethoven or those of the later period who insulted Wagner. Even some of the most enlightened musicians of the day confess that Richard Strauss is a riddle whom they cannot quite fathom; but that is no reason why they should abuse him.
5The musicians of our time are watching and studying the composer of "Ein Heldenleben." In the meantime, when this modern Richard does become the topic of conversation he is discussed with caution and seriousness.
7Two compositions by Richard Strauss were presented at the concert given by the Brooklyn Saengerbund at Association Hall last Wednesday evening, under the auspices of the Brooklyn Institute. Louis Koemmenich, the conductor of the Saengerbund, is entitled to the honor of being the leader of the Richard Strauss cult in the borough of churches, cemeteries and peanut musical "politics." There is nothing of the "peanut," however, in Koemmenich's methods. He is a progressive, up to date musician, and one of the most graceful conductors we have in this country. A well made, symmetrical figure, with the head and face of an intelligent, handsome and generous man.
9Not in his appearance at all, but in the firm, graceful beat and dramatic climaxes Koemmenich at times recalls a slight resemblance to the late Anton Seidl. Seidl could do wonders with a small, scratch orchestra. Koemmenich performs wonders with a comparatively small body of singers, many of them with voices of very ordinary timbre and very little cultivation. Musicians marvel at the results which Koemmenich gets. At the Saengerfest last summer he succeeded in having the entire active membership, about 100, of the Saengerbund, but at the other and less important concerts naturally there are bound to be absentees. About eighty men, or, to be very exact, just seventy-nine, participated in the concert last Wednesday night, but the volume of sound and the general vocal excellence were worthy of a much larger body of singers.
11The Strauss work which the Saengerbund gave was "The Battle Song" from Herder's "Stimmen der Volker." Ten days ago the writer heard the New York Arion sing Strauss' musical setting for "Liebe," the poem also taken from Herder's work. The contrast between the two compositions are startling. The music for "Liebe," tender, suave and spontaneous, and the score for "The Battle Song" tumultuous, and, to the ears of this writer, chaotic. As one talented musician remarked, after hearing the New York Philharmonic performance of "Ein Heldenleben": "How is it possible that the composer who wrote the beautiful parts also composed the ugly parts?" Some day the "ugly parts" may impress the musician difficult.
13As to the singing of the Saengerbund in the Strauss work, it was all that could be expected from any chorus. The balance of tone was well distributed, and especially remarkable were the attack and phrasing. Another new work sung which attracted many musicians to the concert was Louis V. Saar's "Spinning Wheel," still in manuscript and dedicated by the composer to the Brooklyn Saengerbund. The words for Mr. Saar's composition are from an old German folksong, and how beautifully has he made music to match these words. It is some time since the writer has heard a more melodious and spontaneous composition by a living composer. It is a little gem, calculated to increase the composer's popularity among the singing societies. William Bartels did not sing the tenor solo convincingly, but the Saengerbund part was delightfully given, and the audience redemanded it with enthusiasm. Mr. Saar was in the audience, and after the concert was showered with congratulations.
15The remainder of the concert program contributed by the Saengerbund include three folksongs, the familiar "Gretula," by Schwalm; "Es Ist Ein," Frauenlicht, and Grieg's "Land Sighting." Miss Edith Chapman, soprano, sang the dainty Strauss "Serenade," and songs by Bungert, Howard Brockway, Arthur Foote and Augusta Holmès. The singer has a fresh, pleasing voice, and the audience apparently liked to hear her. The other soloist, Max Bendix, played a Ballade by Moszkowski, Wagner's "Albumblatt," a Chopin Nocturne and his own arrangement of Popper's "Elfentanz." The violinist was in fine form and played with his usual fire. The accompanist was Alexander Rihm.
17Emil Paur, M. I. Scherhey and other musicians residing in Manhattan came over to Brooklyn to hear the Strauss and Saar compositions. After the concert Mr. Koemmenich entertained a score of musicians, some of them accompanied by their wives, at supper in Saengerbund Hall. It was 2 a. m. before some of the merry party reached their homes. Altogether it was a great night for Louis Saar, Louis Koemmenich and Richard Strauss.
19The spring concert of the Brooklyn Apollo Club at the Academy of Music attracted the usual large audience. There is no place like Brooklyn for "free" entertainments. While the Apollo Club concerts are not altogether free, it is generally understood that the majority of those who subscribe do not attend in person, but send their bookkeepers, clerks, typewriters, poor relations or amiable friends to whom they are socially indebted in some way. The result is that the Apollo Club concert audiences are rather mixed, despite the effort to make them a fashionable social function. After twenty-three years the club may have outlived the purpose for which it was organized. However, so long as Dudley Buck remains at the helm a certain sentiment will keep alive the interest in the club, and the three concerts will be given again next season.
21The program at the concert last Tuesday (April 16) night included Buck's setting for Longfellow's familiar "Paul Revere's Ride," and this was sung with small orchestral accompaniment and the lowering of two beautiful flags from the proscenium arch. The number was received with great enthusiasm, as it always will be. Buck conducted, and a part of his patriotic song was repeated. The other numbers sang by the club were "May Morning," by Pache; Mozart's "Lullaby," arranged by Arthur Claassen, of the Brooklyn Arion; Schubert's beautiful "Twenty-third Psalm" and Chadwick's "Serenade." The club sang much better than at the February concert. The incidental solos in "Paul Revere's Ride" were sung by William I. Richardson and George W. Reiff, members of the club. The voice of the baritone was particularly pleasing.
23The other musical numbers were contributed by the Richard Arnold Sextet and Mme. Eugenia Mantelli. The sextet played an Elegie and Waltz by Tchaikowsky and a "Cradle Song" and Ballade by Fibly. Finish and a gratifying musical quality marked the playing of Mr. Arnold and his associates.
25At the eleventh hour Madame Mantelli was engaged to fill Sara Anderson's place as the vocal soloist, and under these circumstances lenient criticism should be accorded her. The dramatic contralto sang Lotti's "Pur dicesti," which does not suit her voice, and songs by Bemberg and Goring Thomas. The singer made a better impression in the songs.
27The Haydn Choral Society presented "The Creation" at the concert given at the Immanuel Congregational Church, Tuesday evening, April 16. The soloists were Miss Hildegard Hoffmann, soprano; E. C. Towne, tenor; Dr. Carl E. Duftt, basso. William G. Hammond, as organist, and Mrs. Alice Carman Weeks, at the piano, made excellent substitutes for an orchestra. Millard F. Cook conducted the performance. The soloists, particularly Miss Hoffmann and Dr. Duftt, are well known as oratorio singers, and both at the Brooklyn concert covered themselves with glory.
29The Ottilie Orphan Asylum, of East Williamsburg, was benefited by a concert given last week in Schwabian Hall. The program was presented by musicians who volunteered. Here are their names: Miss Rose Schlenker, soprano; Miss Anna Winkopp, contralto; George Enners, tenor; Joseph Zoellner, violin; Miss Nettie A. Zoellner, violin; J. B. Heitmann, violoncello; Miss Julie Geyer, piano; Misses Katherine and Elizabeth Betz, piano; Master Joseph J. Zoellner, piano; the male double quartet and ladies' chorus of the Schweabischer Saengerbund, Karl G. Schneider director and William Enners accompanist.
31Mrs. Carl Fique, one of the professional pupils of Madame Evans von Klenner, was one of the soloists at the recent concert given by the Brooklyn Quartet Club at the Park Theatre. Mrs. Fique sang the soprano solo part in Bruch's cantata "Fair Ellen," the baritone singer being Dr. Carl H. Klindt. Miss Emma Williams, contralto, sang solos in the first half of the concert. Carl Fique conducted the quartet numbers and several rather ambitious orchestral selections played by a small orchestra.
33Last Thursday afternoon Mrs. William E. Beardsley, the musical director of the Chiropean Club, introduced three fine artists at the meeting of the club held in the Knapp Mansion. Mme. Lisa Delhaze-Wicke, the pianist, played with marked brilliancy the Chopin Fantaisie Impromptu and the Martucci Concert Etude. Alfred Donaldson Wickes, the violinist, played delightfully the Wieniawski Romance, Madame Wickes accompanying at the piano. Miss Genevieve M. Brady, an excellent soprano, sang songs by Spicker, Tosti, Woodman, Bohm and Mayer. one of two readings
34Last Thursday afternoon Mrs. William E. Beardsley, the musical director of the Chiropean Club, introduced three fine artists at the meeting of the club held in the Knapp Mansion. Mme. Lisa Delhaze-Wickes, the pianist, played with marked brilliancy the Chopin Fantaisie Impromptu and the Martucci Concert Etude. Alfred Donaldson Wickes, the violinist, played delightfully the Wieniawski Romance, Madame Wickes accompanying at the piano. Miss Genevieve M. Brady, an excellent soprano, sang songs by Spicker, Tosti, Woodman, Bohm and Mayer. one of two readings
36Next week The Musical Courier will publish a review of the Beethoven-Wagner concert which Arthur Claassen conducted at the Academy of Music last night (Tuesday). Beethoven's Ninth Symphony was performed at this concert.
38To-night (Wednesday) the Choral Art Society will give its annual concert at Association Hall, under the auspices of the Brooklyn Institute. The program includes one of the unfamiliar masses by Palestrina. The thirteenth joint recital by the pupils of Henry Schradieck and Alexander Rihm will be given to-night at Wissner Hall.
40Miss Marie Schade, the Danish pianist, will give a recital at Wissner Hall on Saturday evening, April 27. The program will include:
42Ballade ………………………………………………………..Grieg
43Prelude, op. 5 ……………………………………………..Oldberg
44Allegro Passionata, from Sonata, op. 34 ………….I. P. E. Hartmann
45Romance, from Sonata, op. 34 ………………………..I. P. E. Hartmann
46Fantasiestuck ……………………………………………..I. P. E. Hartmann
47Etude ………………………………………………………..August Winding
48Toccata et Fugue ………………………………………Bach-Tausig
49Etude No. 11, op. 10 ………………………………….Chopin
50Prelude, D flat ……………………………………………..Chopin
51Fantaisie, op. 49 …………………………………………Chopin
52Etude de Concert ………………………………………MacDowell
53Aria ………………………………………………………..Schumann
54Le Rossignol ……………………………………………..Liszt
55Valse ………………………………………………………..Moszkowski
57An important musical event will be the Constance Beardsley concert at the Pouch Mansion on Tuesday evening, April 30. The little pianist will be assisted by Miss Marguerite Hall, mezzo soprano; Sam Franko, violinist; her mother, Mrs. William E. Beardsley, as the assisting pianist; Gustave Freeman, 'cellist, and F. W. Riesberg,
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