Scan 37
Musical Courier 1901-11-27: Vol 43 Iss 1131, 1901
39 lines. Read by computer on 21 September 2026. Printed page 38. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1VIENNA.
2NOVEMBER 11, 1901.
4THE Viennese sigh over Helmesberger as director of the symphony concerts; they sigh and pursue the even tenor of their ways; they sigh and attend the concerts, but not without the cutting insinuation that the Philharmoniker, even without a leader, is worthy of being listened to. Sarcasm is some comfort; the Wiener seek further consolation in the melancholy sight of their adored Mahler taking his daily constitutional on the Ring. They elaborate on the genius, the labors and the interesting ill health of the great man. Comparisons are invidious, but the Viennese are usually more lenient, and it is doubtful which of two things has most surprised Mr. Helmesberger, his elevation to the post of Dirigent der Philharmoniker, or the harsh criticism his nomination has excited. Richard Strauss was offered the place; nay, he was urged, entreated to accept it. But alas! and why not? The first concert of the Philharmoniker occurred Tuesday, October 29.
6On Monday, November 4, Colonne and his Paris orchestra were here. They are indeed a thing of joy. They played Beethoven's "Leonore," and the Musik Verein audience was spellbound. They played the "Tannhäuser" Bacchanale (Paris edition), and enjoyed it hugely themselves, so did their auditors. They played—and how they colored it!—Charpentier's "Impressions d'Italie" and the famous oft-repeated three numbers from Berlioz's "Damnation of Faust." Surely the "Rakoczy March" could not have been better played; indubitably not one pulse in the vast audience but responded to that commanding rhythm. And Colonne himself, how he makes his presence felt, though often he seems to give his men the reins, at times laying down his stick and his right hand altogether, and speaking with his expressive left alone! The new Saint-Saëns Symphony is worthy of study; the first movement is in the master's most scholarly style; the adagio at first menacingly suggestive of a theme and variation, but soon changing its mind and becoming a lovely bit of music; the wild, darkly colored scherzo, which cannot fail to excite sympathy; the brilliant and contrasting last movement. The audience did their best to express appreciation. "Bis, bis!" "Bravo Colonne!" came from all sides and after every number.
8On Thursday, November 7, Jan Kubelik played to a crowded house in the Grosser Musik Verein Saal. On the evening of the concert people were turned away from the doors. Kubelik played the "Gesangscene" of Spohr, Lalo's "Symphonie Espagnole," which Ysaye introduced to Americans some two or three years ago, and a "Faust" Fantaisie. He excited immense enthusiasm, and was assisted by Friml, pianist from Prague.
10But there are many kinds and grades of concerts in Vienna. The Imperial City encourages, harbors, protects many greater and many lesser travelers on the thorny paths to Parnassus. Bosendorfer Saal often fills its comfortable seats for the benefit of strugglers who in America would have to give up the unequal combat. Here they do their little best and receive their little meed of applause, and no doubt enjoy it. The Italian recital on November 7 exemplified all this.
12The initial evening of the Tonkünstler Verein series was held on Saturday, October 26, in the Kaufmännischen Verein Fest Saal. The playing of Sophie Auspitz, a recognized and so to speak graduated artist from the Conservatorium, failed to arouse our enthusiasm. She played the piano part of a new and interesting Sonata, for piano and violin, by Robert Fuchs. The author was present and was heartily applauded. Some beautiful songs of Hugo Wolf were monotonously sung; but for us the feature of the evening was a Trio for piano, violin and 'cello, by Fr. Smetana. The work, though scored for three instruments only, seems to have been conceived in an orchestral spirit. A deep, tragic feeling pervades the work. The performers of this number were F. Yerat, 'cellist; Robert Zeiler, violinist, and L. Friedberger, pianist. The Tonkünstler Verein is a very old society. It owes its rejuvenation to Brahms.
14And the opera. On Thursday, November 5, was given a brilliant presentation of Smetena's "Dalibor," with Mil- denburg as Milada, Michalek as Yutta and poor old Winkelmann as Dalibor. Mildenburg, of course, sang marvelously well. She always does; and her acting was, as usual, intelligent and passionate. Winkelmann managed to look younger than he has looked in other parts. The music of "Dalibor" is a wonderful interpretation of the text. The varieties in rhythm, sentiment and tone coloring present each situation with dramatic force. Particularly worthy of mention seem to us the march preceding the entrance of Wladislaw, King of Bohemia, Dalibor's defense, and the love duet of the prison scene in the second act. The recitatives in "Dalibor" might be criticised as antiquated and stiff. Mahler himself directed. Nevertheless, deficiencies in precision of attack were noticeable and some accompanying passages lacked steadiness.
16Nicolai's "Merry Wives of Windsor" is at present being given on an average of once a week. The revolving stage is used and every detail of the presentation is remarkably well managed. It must be said that in this case Gutheil-Shoder earns well deserved laurels. The sinuosities of her gestures, attitudes and peculiar style are better adapted to the role of Frau Fluth than to any other we have so far had the advantage of hearing her in. Strange to say, Demuth, the great Wotan, makes an excellent Herr Fluth. The absurd part of Yünker Spärlich is humorously brought out by Breuer. Nadal, perhaps the purest tenor at the Hof Oper, sings the part of Fenton. The ballet in the third act is really fine. Whatever some persons may have to say regarding degeneracy in the ballet corps, Hofmann's "Eryahlungen" bids fair to rival the "Merry Wives of Windsor" in the number of times that it is announced for the present and near future.
18The revival of this fantastic opera of Jacques Offenbach was given its first performance at the Hof Oper on Monday, November 11, before a brilliant and enthusiastic audience, the inevitable Gutheil-Shoder assuming the three roles of Olympia, Giulietta and Antonia and Herr Schrödter playing Hoffmann. Mahler directed, received more than his usual ovation and was obliged to repeat the prelude of the second act, in which Offenbach works out a Mozart theme in commemoration of the real Hoffmann's veneration for the great composer. The staging of the Venetian scene was specially admirable, but, alas! the love declaration was sung with such sublime disregard for pure intonation as to completely spoil the ensemble. The last act was distinctly tiresome, the constant reappearance of the demoniac Mirabel absolutely failing to produce the intended weird effect. For such of our readers as are not acquainted with the work, a skeleton sketch may not be out of place. In the prologue Hoffmann offers to tell his friends, assembled in a tavern, the tale of his loves. Each of the three acts is the story of one of these ladies. The first, Olympia, is a doll, so constructed that she can walk, dance and sing. She is broken by the optician who made her eyes and received bad money in payment of his work. The second, Giulietta, a false Venetian, by magic indelibly imprints her face on a looking glass and by the same spell seeks to wreck Hoffmann's hopes of eternal salvation. The third, Antonia, dies. The cause of her death is her own song and is brought about by the hypnotism of Mirabel. In the short epilogue Hoffmann again meets his friends in the tavern and the drinking chorus of the prologue closes the opera.
20We will assume that our readers are still interested in Leschetizky and his disciples and proceed to say that "the class" are as usual in a turmoil. They have a grievance and should be satisfied. A great cry of distress has gone up and it is thusly: The middle of November is upon them and yet they have had no lessons. Währing has indeed felt the shock of approaching greatness. The villa on Karl Ludwig strasse has been thoroughly aired and cleaned. Leopold, major-domo and valet to the master (and a great man himself), has been seen and spoken to; but Leschetizky has come and gone—perhaps come again! He had visited Berlin in the interest, it is said, of his compositions. An irreverent spirit suggests that they will require his close attention, as they run considerable risk of being sadly neglected by posterity. And now we are told that Paderewski is in Vienna; and will not rehearsals in the Innere Stadt, and little suppers and billiards at Währing, preclude for another two weeks the possibility of regular lessons with Herr Professor? But Paderewski plays on the 14th and again on the 22d.
22On the first evening he will give the "Emperor" Concerto, the Chopin F minor and his own Fantaisie, assisted by the Concert Gesellschaft Orchestra. Some feeble minds hope to enjoy the great artist's music; but lofty intellects, they of the inner circle, will bear down on the Grosser Musik Verein Saal, armed with opera glasses, field glasses, possibly some may resort to telescopes, and resolutely closing their ears, open their eyes and gloat over mechanism and muscles, learnedly discussing the points of the—athlete(?). To such heights have some risen!
24G. S. L.
26MME. FANNY RICHTER IN MILWAUKEE.
28THE appearance of Mme. Fanny Richter in Milwaukee on November 18 proved the pianistic event of the opening season in that music-loving city. The pianist appeared as the soloist in connection with the A Capella Club concert, and her success was almost unique in the unanimity of opinion among critics and local pianists. Madame Richter-Fuchs may fairly claim a conquest of musical Milwaukee. Her program was well calculated to display her skill and technic, and she so deeply impressed the local musicians that, with but one hearing, she is, in her scholarly readings and sincerity, compared with Bloomfield-Zeisler, and in her reserve strength and temperament with Carreño. Milwaukee has a habit of comparing all newcomers of prodigious technic with the two artists just named, and, if the result is to a fair degree satisfactory, the pianist thus put to a severe test is sure of enthusiastic admiration. It is certain that another appearance in Milwaukee would compel a repetition, greatly augmented, of Madame Richter's recent triumph. Following are extracts from some of the Milwaukee newspaper notices:
30The Capella Choir's first concert of the current season took place at the Pabst Theatre last evening, on which occasion a new pianist appeared as soloist in the person of Mrs. Fanny Richter-Fuchs, a German virtuoso, who came highly recommended as having studied with Liszt and half a dozen lesser lights, together with the Berlin Royal School.
32Madame Richter-Fuchs claims first attention by reason of her eminent talent. She is well equipped in all details of piano technic, in addition to which she possesses sentiment and warmth of feeling, all of which was demonstrated in her playing of the Beethoven Sonata, the three strongly contrasting movements being reproduced with delightful finish as far as mechanical means are concerned, while the beautiful andante was played with great depth of feeling and tenderness. In the Chopin selection she fully entered into the spirit of the Polish poet's sentiment, and Schumann's "Butterflies" received a brilliant interpretation. Her other selections served to increase the good impression made by the pianist, and the somewhat noisy piece of Liszt resulted in an emphatic recall. She is a pianist who deserves her success.—The Sentinel.
34Mrs. Fanny Richter-Fuchs was the soloist of the evening. Here in Milwaukee we unconsciously measure all our lady pianists by the standard of Carreño. A very high standard undoubtedly—probably the highest—and we must be forgiven if we do not at first take kindly to any newcomer, for we like Carreño very much. Mrs. Fanny Richter-Fuchs did not touch us much until the last numbers—"The Magic Fire" and "St. Francis on the Waves" selections. In these she showed of what stuff she was made, and the audience knew it at once to be the genuine ring of the artist and asked for an encore, which it got—Paderewski's Polonaise. The Chopin Nocturne, Schumann's "Papillons" and Grieg's "Carnival" appeared to be scholarly, technically correct and of sufficient temperamental conception.—Journal.
36The A Capella Choir opened its seventh season at the Pabst Theatre last evening to a large and representative German-American audience. Prof. William Boeppler, the musical director, had a feature in Mrs. Fanny Richter-Fuchs, of New York, and to say that she scored a success and won favor with the audience is putting it mildly. Her ability as an artist on the piano has never been questioned, and those who had seen her before immediately became impressed that she is a finished artist. She played some of Schumann, Chopin and Liszt concert pieces and Beethoven's "Appassionata."—News.
38As soloist of the evening appeared the pianist Mrs. Fanny Richter-Fuchs. Having been taught in a most excellent school, this lady proved herself to be a proficient pianist, and who had been trained through a sound technic suitable for classic works, as the Sonata Appassionata of Beethoven; and she also proved that she knew how to interpret the modern works of Chopin, Schumann, Wagner-Brassin and Liszt. Mrs. Richter-Fuchs delighted the large and enthusiastic audience also with the "Feuerzauber" of Wagner-Brassin and with Liszt's composition, "Franciscus on the Waves." With these Mrs. Richter-Fuchs reached the height of her ability, and was called out before the audience several times and covered with applause and with flowers.—German Herald (translation).
The computer misreads some letters and numbers. Where a name matters to you, read the scan.