Scan 4
Musical Courier 1902-01-29: Vol 44 Iss 1140, 1902
72 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 5. 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.
1THE MUSICAL COURIER.
3VIENNA,
4JANUARY 13, 1902.
6SOME weeks ago a learned Viennese critic for one moment forgot his professional profundity, and said a really good thing. He remarked, referring to a local composer, that the latter's work shows him to be like a conscientious conservatorium graduate, "One who has forgotten nothing." The subtle sarcasm of this saying might not inaptly be applied to Mahler's Fourth Symphony, or was it with the laudable intention of forcibly reminding his listeners of such masterpieces as "Carmen," "Rheingold," "Walküre," "Lohengrin," "Tristan," and the best of Richard Strauss', that the idol of the Viennese public produced his eagerly anticipated G major at the fifth Symphony concert, on Sunday, January 12? The Grosser Musik Verein Saal was crowded to its utmost. Many persons ambitious to occupy, indeed, willing to pay for seats, were obliged to content themselves with bare standing room in the Hek-parterre. The regular concert fiends were delighted and whispered to each other, recalling the good old times, when the Philharmoniker were always so well attended. Helmesberger mounted the director's platform, and went through the Overture to "König Stephan"; this over, amid howls of enthusiasm, Mahler appeared to conduct his new symphony, its first performance at the Philharmonic concerts. We have never had the advantage of hearing the other three symphonies, "Des Klageende Lied" (the Plaintive Song), or indeed, any other of Herr Mahler's compositions. This is probably our misfortune. We have heard him as director of operas. This is certainly our good fortune. For, for that work, he is eminently fitted. The Fourth Symphony is scored for numberless instruments, the wind dominating almost continually, owing to the use of as many flutes, clarinets, horns and bassoons as possible. The first movement has scarcely the character belonging to its traditional form. Though written in 4-4 time, it has something of a waltz swing to it. In fact, the introduction by two flutes, accompanied by two other flutes and a contrapuntal figure in the clarinets, is quite suggestive of the ballet, and the sudden appearance of a short skirted, white armed, sweet smiling hour of the pas-seul variety would hardly have been a surprise.
8The principal theme is songful, and, though not strikingly new, is not without charm. In fact, many passages in the symphony are not at all ugly. Skillful counterpoint, canon, inversions, imitations and variations abound. The orchestration is interesting, though the fiendish shrieking of the wood is, in our judgment, too frequent to be effective. Moreover, many parts are so made as to be incomprehensible at first hearing. How they may appear after further study is a question for future unravelling. For the present we can but say that Strauss' "Heldenleben" and "Thus Spake Zarathustra" are clear as crystal waters in comparison with Gustav Mahler's Fourth Symphony. The second movement has somewhat the character of a slow scherzo. The third (adagio), barring an abuse of organ point effects, is at first harmless enough; but suddenly we are introduced to a circus scene. This may be a not unwelcome diversion for some; but without wishing to be traditional or pedantic, we cannot but remark that for us, at that moment, it was a shock and an unpleasant one.
10From a business standpoint it might be advantageous to utilize portions of this adagio on the pleasure boats which travel up and down the Danube in the spring. The bands could easily master any difficulties forthcoming in such appropriate extracts, and the Viennese ladies, munching sweet cakes, sipping light wine and flirting with handsomely dressed officers, would no doubt very much enjoy a dainty accompaniment to their conversation.
12To continue. Reminiscences of the first movement precede what was, we firmly believe, intended to be a mighty climax; but which, notwithstanding bold use of all possible orchestral means, fails to be impressive. The adagio lengthens on and finally dies away pianissimo.
14The fourth and last movement evinces pastoral intentions, as expressed in the text sung by a soprano voice. At the symphony concert Fräulein Michalek, from the Opéra, undertook this vocal task.
16The audience were almost as interesting a study as the composition and the composer, who, it must be said, was unusually quiet (acrobatically, as regards visible demonstration). The Viennese feeling is very strong for Mahler; but it was clear that the audience could not unreservedly approve of what he attempts to give them in this Fourth Symphony. There was, it is true, a fervent effort made to give him his accustomed ovation; but it was evidently led on and kept up by a clique of his almond-eyed compatriots.
18It will probably be instructive to read the papers, when the erudite critics make up their minds just what they think and just how much of this can be fed to that infant the public. But the Vienna critics are careful, and usually deliver their weighty opinions some four or five days after a concert.
20Stefi Geyer, the thirteen year old violinist, managed to fill Grosser Musik Verein Saal on Friday, January 10, though only a week had elapsed since her first concert in Vienna, when she played with orchestra the Spohr "Gesangscene," the "Gypsy Dances" of Nachez, and other smaller pieces. On the 10th she gave with piano accompaniment the Bruch G minor Concerto, the Hubay "Czarda" scene, Schumann's "Traumerei," Sarasate's "Zapateado," and several encores, chief of them being the remorselessly hackneyed but ever beautiful Bach Air. From her playing we might have been tempted to believe that little Miss Geyer's managers had exaggerated her youth, but one glance at the serious child face and the childish figure is sufficient, and we must accept her as she is, a gift from heaven, and hope that what her few past years have done for her development her future years will proportionately continue to do. For the youthful virtuosa has much more besides the mere finger and bow facility, the reliable memory, the rhythmic sense that distinguish the average prodigy. Her breadth of conception and her repose in such works as the Bach Air and Bruch Adagio bear with them the conviction that she is one of the few chosen ones of art. She owes her instruction to Hubay, of Budapest, a well-known violinist and a disciple of the Paris school. She has evidently been carefully trained and has evidently also done some practicing, but it has left no trace on her blooming cheeks and robust little figure, and among her charms must be reckoned her simple, unaffected address and absolute freedom from mannerism. Miss Geyer was assisted by Fraulein Clarise Grossmann, soprano.
22The Böhmischer Streich Quartet gave the third of their series of four evenings on Friday, January 10. Listeners are forcibly reminded of the accounts of Beethoven's own quartet, handed down to us by contemporaries. The Bohemians' forte is sonorous and orchestral; their piano full and impressive; their ensemble like the expression of one will. Their deeply reverent interpretation of the Beethoven C sharp minor Quartet showed that each player had made this immortal composition his own, and it seemed almost like a wonderful improvisation. The Borodin and Brahms numbers announced were taken off the program and their places supplied by the "Lerchen" ("Skylark") Quartet of Haydn and the Sgambati Quintet. Eugen d'Albert assisted in this last. On January 11 he gave a recital in Bösendorfer Saal. Following is the program:
24(no line here) one of two readings
25Passacaglia, C minor………………………………………Bach-D'Albert
26Sonata, op. 78……………………………………………..Schubert
27Rondo, G major, op. 51………………………………….Beethoven
28Rondo, op. 129 (Rage Over the Lost Groschen)……..Beethoven
29Fantaisie in C major………………………………………Schumann
30Berceuse…………………………………………………….Chopin
31Valse Impromptu and Tarantelle, from Venezia e Napoli……Liszt
33The concert was very well attended. Late arrivals might have been edified by the sight of rows of anxious students unable to procure even admissions, but nevertheless determined to hear the concert, and who, with ears closely applied to sternly closed doors, music and pencil in hand, endeavored to make the most of their strained opportunity by marking down as much of the shading, &c., as the solid oak would transmit. Strange habit this, so prevalent in Vienna, of noting down each interpreter's passing whim regarding minutest detail.
35We hear that some critics have discovered that d'Albert's recent labors in the field of composition have been attended by a deterioration of his piano technic. What is technic? Some believe it to be ability to perform hair splitting acrobatic feats on a defenceless instrument; a prestidigintious, meaningless velocity; an absolutely machine-like precision. If they be right possibly some may have a better technic than d'Albert's at present. Others hold technic to be the power to bring out forcibly the composer's ideal, according to the executant's conception. If these be right d'Albert still occupies the pinnacle of pianistic excellence, notwithstanding "Cain," the piano and the 'cello concertos, the quartet, the songs and all his other fancies.
37We feel that it would be almost an absurdity to write our small words of praise of the depth and intensity of conception in the Beethoven numbers. Suffice it to say that such playing is a cause of gratitude, especially if one has suffered the lassitude arising from an enforced listening to a Beethoven distorted either from an exaggerated loyalty to traditionalism or the perhaps worse crime of indulgence in an unbridled and nauseous subjectivity.
39Vienna is just waking up to the fact that Strauss has written a melodrama on "Enoch Arden." And to think that in the wilds of America such things are already an old story! The composer and Ernest von Possart will present the work here toward the end of this month. On Wednesday, January 22, the violinist Jaroslav Kocian will give a concert with orchestra in the Grosser Musik Verein Saal, and on January 28 Sieveking. The last of the Bohemian String Quartet series is announced for Friday, January 17.
41G. S. L.
43PIANO AND 'CELLO RECITAL TOUR.—Early in February Henriette Weber, the pianist, and Charles Russell, the 'cellist, will go on a short recital tour through the Middle West, including concerts in Canada. For this tour these two young artists have arranged an unusually attractive program, including some superb ensemble numbers, such as the Boellmann Sonata for piano and 'cello, and Eduard Schütt's beautiful Fantaisie for the same two instruments, which is as yet a novelty here.
45On Sunday afternoon, February 2, just preceding this tour, Miss Weber will entertain with a large musicale at her handsome studios in Thirty-ninth street, on which occasion the ensemble playing of Miss Weber and Mr. Russell will be one of the principal features. Miss Caroline Montefiore has graciously consented to sing, and Oley Speaks, the basso, will give a group of songs.
47Other well-known artists will assist, and the affair promises to be a most brilliant one, both musically and socially. About 200 invitations have been issued.
49HENRI G. SCOTT'S SONG RECITAL.—The song recital to be given by the basso in Philadelphia on February 5 is attracting unusual interest in that city, and a large attendance is assured. A varied and exceedingly interesting program will be given at this recital, embracing the following:
51(no line here) one of two readings
52Recitative and Air from Herodiade………………………………………Massenet
53Where'er You Walk……………………………………………..Handel
54Morgenglied…………………………………………………….Rubinstein
55An den Linden…………………………………………………..Jensen
56Time's Garden…………………………………………………..Thomas
57Im Herbst………………………………………………………..Franz
58Mädchen mit dem roten Mundchen……………………………Franz
59Aus meinen grossen Schmerzen……………………………….Franz
60Sigh No More, Ladies!………………………………………Old English
61Pretty Polly Oliver…………………………………………….Old English
62Invano………………………………………………………..Tosti
63Myself When Young………………………………………….Lemhann
64Since We Parted……………………………………………..Allitsen
65Is It the Wind of the Dawn?………………………………..Villiers-Stanford
66Pilgrim's Song……………………………………………….Tschaiikowsky
67Don Juan's Serenade………………………………………..Tschaiikowsky
69LIKE FATHER, LIKE CHILD.—The old adage recently found a new illustration in the successful appearance of a pupil of Miss Bessie Bowman, the gifted daughter of the eminent teacher, E. M. Bowman. Miss Bowman evidently inherits from her father not only musical talent of the executive kind but the aptitude of the teacher as well. A vocal pupil of hers, Miss Cora Shepardson, who has so far been trained exclusively by her, recently sang at a concert in Pittsfield, Mass., and it seems won her audience completely. Her selections were a concert waltz by Molloy and ballads by De Koven and Lohr. The Journal, of that town, says that "she possesses a highly cultivated voice of much power and sweetness," and that she "was very heartily encored."
71MANUSCRIPT PRIVATE MEETING.—The third private meeting of the Manuscript Society was held at the Waldorf-Astoria last evening. The program was devoted to the performance of selections from Reinhold L. Hermann's opera "Vineta," Mme. Josephine Jacoby, Miss Frieda Stender, Miss F. Marian Gregory, Heinrich Meyn, Dr. Franklin D. Lawson and Herman Springer being prominent in the cast. Mr. Liebling will be at the piano. This was the first attempt the society has made to present the operatic scores of its members in this form, and if successful other similar works will have a hearing later in the season.
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