Scan 25
Musical Courier 1901-12-25: Vol 43 Iss 1135, 1901
84 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 26. See the scan on archive.org.
1in popularity is proven by the constantly increasing demand for repetitions of these.
3"In 'Feuersnoth' there are satire, foolishness and the 'Beckmesser'-'Eulenspiegel' idea in the variation, of which he does not tire. Whence all this gall and spleen in Master Strauss? In view of the early recognition of his genius, this role as a martyr of progress ill becomes him. Recall the cases of Wagner and Liszt, where in the one instance the plenitude of glory came to him late in life, and in the case of Liszt honors as a composer were denied him until after his death.
5"To give a general idea of 'Feuersnoth' is to describe it as the kernel of 'Meistersinger' and 'Till Eulenspiegel' transposed to a one act opera.
7"The composer has used for the groundwork an idea taken from a Netherland saga. With all respect for Wagner, I applaud the fact that Strauss possesses so much self-denial as to have the book of this opera prepared by a professional librettist—perhaps he recalled the soggy libretto of his 'Guntram.' 'Feuersnoth! Minnegebot!' Kunrad der Ebner—relative of the well-known young knight from Franconia—young, handsome and irresistible, sees and loves his Evchen, and the row begins. Here, too, the time selected is 'Johannistage.' Evchen—now called 'Diemut'—daughter of the Burgomaster, is full of tricks; the kiss stolen in public makes her revengeful of love, and she traps the loving swain and imprisons him in front of her window. The tricky woman leaves suspended in midair the provision basket containing her lover, who had planned this means for ascending to the beloved one. To insult now is added injury—the scorned love above and from below the taunting chorus of Philistines—all this needs be punished. And, see, the spell works, for instantly all light, all fire, in the town dies out. Feuersnoth—Dearth of Fire. And in the wake of this famine naturally much complaint and distress; punishment awaits the sinner: 'Down scoundrel! No fooling. We'll hang you much higher.' But Master Kunrad has by this time climbed to the overhanging joist, and settling himself drops his stage name, and as Richard Strauss, the Hofkapellmeister, in life size, reads his beloved city of Munich a very severe sermon:
9"Im Hause, das ich heut zerhaun,
10Haust Reichard einst, der Meister,
11Der was kein windiger Gaukler, traun,
12Der herhe Herrscher der Geister.
13Der warb um eure Herzen lang,
14Gewann der Grossten Gunst—
15Allein euch Kleinen macht er bang,
16Blied all sein Werben umsonst.
17Hat sich wacker mit euch geplagt,
18Der Stadt gross Ruhm gebracht,—
19Schmählich habt ihr ihn ausgejagt
20In neidischer Niedertracht. * * *
21Da triebt ihr den WAGNER aus dem Thor—
22Den bösen Feind, den triebt ihr nit aus—
23Der stellt sich euch immer aufs Neu zum STRAUSS."
25"This the good residents of Munich must calmly put in their pipes, and in answer can only bleat like the lambs in 'Don Quixote.' So they do anything to get back their fire again, and the lovers are given each other in happiness. Be it remarked that the old Burgomaster is a strangely complacent father, and does not interpose the slightest obstacles. And at the end it reads—though sadly labored the words—
27"All Wärme quitt vom Weibe,
28All Licht von Liebe stammt—
29Aus heiss-jungfräulichem Leibe
30Einzig das Feuer euch neu erflammt."
32"The libretto of Ernst von Wolzogen is, as might have been suspected, reeking with the atmosphere of the 'Uberbrettl'; and according to the above quoted ending several virtues might be wrecked on it; at any rate, it is nothing for the 'Dresdener Pensionate,' which has its Bungert. Throughout this threadbare text the psychological consideration is kept fresh and humorous. Great was the expectation to see how the liberally used Munich dialect would sound with the Strauss music. But alas! the flood of music washed away all of this; music remains an ideal speech in which the character of dialect is an impossibility. In this case even the realism of a Richard Strauss has met unsurmountable obstacles—here this is plainly proven.
34"The music to 'Feuersnoth' is well worthy of Strauss, both in imagination and content, and displays all the marvels of the Strauss orchestration. Unprecedented 'geniality' of coloring, and in addition to this an abundance of fresh and national melody such as Strauss himself has never before equaled. Most prominent is the charming waltz, later the airy love scene with the graceful nightingale woodwind polyphony. The latter is probably the richest, but it would seem to be a bit out of key with the situation, inasmuch as the entire work can only be reckoned as a farce; and so this sudden Tristan-like outburst of the lovers—or to be more accurate, the betrothed ones—does not seem to be in keeping. But when the fire dies out, and again when it rekindles, there sounds the lost wonderful music which expresses the mood entirely; all this with the most daring combination of motives and with tremendous climax. For the chorus there is much work and to these numbers Strauss has devoted much of his skill. Treatment of the voice is the weakest part of 'Feuersnoth,' as it was of 'Guntram.' The orchestra tells everything. True, in the 'sermon,' beautifully sung by Scheidemantel, there are traces of more singable moments.
36"That Strauss can compose in every branch, even opera—not to forget his glorious songs—this he proves with 'Feuersnoth.' But the field particularly his own remains that of instrumental composition."
38JAMES HUNEKER.
40THE DUSS CONCERT BAND.
42MANAGER JOHNSTON has definitely arranged for the appearance of the Duss Concert Band in New York at the beginning of the summer season. This organization, assisted by soloists, will give a concert in the Metropolitan Opera House Sunday night, May 25. Immediately thereafter a three months' tour will begin. The band will visit all the principal summer resorts.
44The announcement in a recent issue of THE MUSICAL COURIER that Mr. Johnston had become the manager of the Duss Concert Band has aroused interest. There is a desire to hear this body of musicians, led by Mr. Duss, who holds a unique position in the world of music. Capable critics who have heard this band and seen Mr. Duss wield the baton concur in the opinion that the combination is an interesting one in many respects.
46The repertory of the band is large, embracing compositions in various forms and illustrating the classic and the modern in music. In this repertory are many taking compositions of Mr. Duss, for he is a composer as well as a conductor. These works have been played to immense audiences in Pittsburg, Cincinnati and other cities and have been well received.
48Mr. Duss anticipates with much pleasure the forthcoming tournée of his band. This promises to be very successful.
50The Allentown (Pa.) Morning Call said of William Bauer's appearance there recently with Leonora Jackson, in the annual fall concert of the Euterpean Club: "William Bauer, the pianist, added greatly to the delightfulness of the program by his accompaniments, as well as his solos, which were characterized by delicacy of touch and much depth of feeling."
52Silence Dales' Success.
54THE violinist Miss Silence Dales, of Lincoln, Neb., who is well and favorably known in the West, and who scored a signal triumph for herself and for her State at the Pan-American Exposition at Buffalo, is now on a professional visit to Salt Lake City and the adjoining region. Recently she was one of the assisting artists at the Tabernacle choir concerts in Salt Lake and also in recital with Miss Carrie Bridewell, of the Grau Grand Opera Company.
56The following press notices attest her success:
58* * * Miss Dales fairly captured her hearers. Her bowing and technic are far in advance of other girl violinists, and she shows great improvement since her appearance here with the Orpheus Club in January, 1900. Then the Tribune said: "She is the best girl violinist ever heard here," and to-day that can be accentuated. She has a winsome appearance, is careful in all her movements, and puts her whole heart in her work. She finely rendered the Bruch G minor Concerto; Romance, by Rubinstein, and "Bee," by Schubert-Liszt. * * * —Salt Lake Tribune.
60* * * She is a violinist of rare attainments, and plays with a feeling and depth rarely witnessed even in the most accomplished male performers. She gave several numbers last night, and was warmly applauded after each.—Deseret Evening News.
62* * * Miss Dales, the violinist, created a furor in her number, Bruch's Concerto in G minor. * * * She has the faculty of getting tone volume out of a violin such as is possessed by few performers on that instrument. * * * —Salt Lake Herald. one of two readings
63* * * Miss Dales, the violinist, created a furore in her number, Bruch's Concerto in G minor. * * * She has the faculty of getting tone volume out of a violin such as is possessed by few performers on that instrument. * * * —Salt Lake Herald. one of two readings
65The following are extracts from an article written for the Deseret Evening News (Salt Lake) by Prof. J. J. McClellan, the accomplished organist of the Tabernacle and professor of music in the University of Utah:
67* * * For a young woman to so sway her audience and hold its complete attention by her fine technic, musically phrasing and superior bowing is a rare occurrence in these parts. Miss Dales is not a "girl violinist." She is a mature artist upon the violin, one that breathes through it, makes it a thing of life and thrills every hearer. A more graceful bow arm is seldom seen; in fact, this is one of her strong points, and her bowing is an object lesson to our violin students. * * * Miss Dales plays upon a seemingly famous violin and brings from it all there is in it. Thoroughly mature and thoughtful, she is an artist bound to be known the world over if she continues on her upward course. All in all, Miss Silence Dales is a superb artist, and I am happy not only that I have had the privilege of accompanying her but of hearing her charming work.
69Miss Dales plays a grand old violin built by Alexander Gagliano, pupil and contemporary of Stradivarius. In 1702 the same maker made a violin especially for Corelli, which instrument has come down to the present time through the hands of a number of the world's most famous players, and is now owned by William Worth Bailey. Experts to whom both instruments are known adjudge the specimen owned by Miss Dales to be a close second if not fully equal in tone quality and carrying power to the now historic Corelli violin.
71Charlotte Maconda.
73MME. CHARLOTTE MACONDA has returned from her successful tour to the far West. From time to time we have published enthusiastic press criticisms about her singing, and we here add two more opinions:
75Mme. Charlotte Maconda, a singer who has never before been heard in Denver, delighted an appreciative audience at Trinity Church last night, where she gave a recital, assisted by the College of Music Choral Union.
77Madame Maconda was in fine voice and rendered each number on the program with a spirit, grace and delicacy which has seldom been equaled in this city.
79The program opened with the march and chorus from Wagner, which was well executed by the Choral Union. Madame Maconda sang a generously lengthy program, rendering vocal gems in French, Italian, Spanish and English. A little group of simple ballads, including Foote's "Irish Folksong" and Nevin's "Twas April," seemed to especially please the audience. Perhaps, however, the gem of the evening was the Polonaise, which Maconda sang with such sweetness, charm and flexibility that she was encored again and again. The high notes had the purity and clearness of the song of a bird, while the trills and staccato notes fell like perfect pearls upon the ears of the audience. She was accompanied by Frederick Schweikher. We have not had in the city so fine a concert singer as Madame Maconda.—Denver (Col.) Times.
81Mme. Charlotte Maconda made a most agreeable impression. Professor Torrens unhesitatingly says of her that she is the coming soprano singer of the land. Her voice is one of surpassing richness and is used exquisitely. In quality and style it is much like Sembrich's, and it reflects a most careful and intelligent coaching. Finer singing one could not ask to hear and her delighted auditors are quite ready to agree with Professor Torrens concerning her future. Madame Maconda sang a selection from Verdi's "Traviata" and the Polonaise from Thomas' "Mignon," and the solo with the chorus number (Gounod), "From Thy Love as a Father." In each she was superb and the applause which came from the delighted audience left no doubt as to her triumph.—Morning Star, Rockford, Ill., December 17, 1901.
83Oscar Franklin Comstock will give his third studio recital in Washington, D. C., next Wednesday. He will sing two of Berenice Thompson's "Three Songs from Some Verses," the words of which are by Helen Hay, the daughter of Secretary of State John Hay.
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