Scan 16
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
74 lines. Read by computer on 22 September 2026. Printed page 17. See the scan on archive.org.
1DRESDEN, FRANKLINSTRASSE 20, January 20, 1902
3PERHAPS the most important concert of the season was that in the Vereinshaus on January 19. Raimund von Zur-Mühlen on that night sang his way straight into his hearers' hearts. His song recital was remarkable, not only for his exceptional interpretative powers but for his choice program, comprising lieder from Schumann, Tschaikowsky and Karl von Kaskel. The latter composer is a Dresden musician, whose early opera "Hochzeitsmorgen" when produced here some years ago impressed me deeply. Another of his operatic works, "Die Bettlerin vom Pont des arts," has grown familiar on the Continent. One regrets that Dresden has not, as yet, produced it, and that the talented composer is, comparatively speaking, not more noticed as a musician in his native town. In wishing, therefore, that von Kaskel's "Beggarwoman" might be brought out here before long I know I voice the opinion of several hundred of those who heard his songs interpreted by von Zur-Mühlen the other night.
5Some of these lieder (op. 8 and 9, published by H. Seemann, of Leipsic) are real gems, such as emanate from true inspiration and the rich inventive vein of an artist. Well contrasted on the program they captured the hearts instantaneously. The most popular are: "Auf dem Maskenball" and "Das mitleidige Mädel," which will henceforth be sung by everybody who wishes to make a success and who knows how to sing. Perfectly ravishing was "Wir drei"—indeed all of the von Kaskel numbers display so much sentiment, warmth of feeling, swing and power of persuasion that they deserve mention here, to be noticed by singers wishing to add some good numbers to their repertory. They are termed (except the above mentioned): "Winterfrieden," "Denk es," "Enterte des Glücks," "Todt," "Entbietung" and "Mit der Pinasse." The composer himself accompanied in a highly musicianly manner. The crème de la crème of Dresden society attended the concert. The success of both singer and composer was a complete one.
7Ludwig Wüllner's Strauss Abend, devoted entirely to songs from Richard Strauss—"the overman" of the "over music" of the present period—I could not attend, much to my regret. It is reported to have been crowded. The composer accompanied at the piano.
9Eugen Gura thought it necessary to appear once more before the Dresden public. He was nothing but a sore disappointment to his former and present admirers; the esteemed veteran singer, being no more in possession of his former powers, ought to retire before it is too late. Four of Reinhold Becker's songs brought him the greatest acknowledgment; otherwise the program was composed of those well-known Loewe ballads and lieder from Bohm and other selections with which he long ago made his fame.
11The second concert of the Harmonic Society boasted of two such drawing cards as Tivadar Nachez and Alexander Siloti, both excellent. Equal share of praise cannot, sad to say, be spent on the singer who assisted, Herr D., of Dresden, of whom the least said the better. Tivadar Nachez is a violinist of pure type, grasping his subject in all its parts and bearings, while at the same time commanding a technic which he has made thoroughly subservient to his noble art. Bach's Air, Bruch's G minor Concerto, and Wieniawski's "Airs Russes" displayed his virtuosity to the utmost advantage. The electrifying power and dashing bravura of his Wieniawski readings completely carried the audience away. Encores consequently were required and granted.
13Alexander Siloti's Slavic temperament broke forth gloriously in Rachmaninoff's new Concerto, op. 18, which the Russian pianist introduced here on this occasion. What I heard of it pleased me immensely; more, however, I cannot say, for, most unfortunately, I was detained by a preceding engagement, arriving in time only for the last movement. Why did not a kindly fate save me from the vocal renditions and give me the whole of Rachmaninoff's Concerto instead? The audience expressed sincere admiration and thanks to Mr. Siloti for having played the work here. Nothing so refreshing as new compositions of importance! Schubert's "Wanderer" Fantasia followed next, which Siloti performed true to his Russian conception. It was not the German Wanderer, nor the one which Edouard Risler lately gave us; "doch"—as says Hans Sachs, "ich sage nicht dass es ein Fehler sei"; on the contrary. The fire and go which the pianist imparted to the last fugue, for instance, took his hearers by storm. The Trenkler Orchestra, apparently startled by the unusual amount of temperament displayed by both soloists, had to cope with the difficulties of the accompaniments as best it could, this best being by no means what it ought to have been.
15The single appearance here of Sada Yacco and her imperial Japanese company, in the Royal Opera House, January 10, attracted an immense audience. Ethnographically the performance was very interesting, less so artistically, the Japanese art having to be regarded more as a "show" in the variety theatre sense. Parts from two dramas were given, the content of which, though nobody understood the language, was not difficult to fathom. All over the world, in Japan as well as here, there is the same story repeating itself; it is love's old tale, which, for the occasion, happened to run in the Japanese key. Both dramas "abound in scenes of love, jealousy and hatred, duels, fights, murders and suicides. In climaxes, when the dramatic action is growing very passionate, the spoken words are accompanied (quite melodramatically!) by a dumb sound of some gong instrument concealed behind the wings, which, so I suppose, is intended to make "Stimmung."
17As for Sada Yacco and her husband Kawakami, they are the most prominent members of the troupe. The former's death scene justified the praise spent upon her talent in Paris during the Exposition. The stage machinery rivals European mounting. It was beautiful. As for the mixture, however, of tragedy and farcical nonsense, the Japanese play has, as yet, very little in common with what has been termed art.
19"Maïs revenous à nos" musiciens. There was another "Lieder Abend" on January 7, that of Ida Ekman, which classes among the most enjoyable recitals of the new year 1902. The singer has been on previous occasions so favorably criticised by Mr. Floersheim (and the entire Berlin critique) that there remains little for me to add. In mental power, temperament, expression, depth of sentiment and a perfect enunciation she is quite remarkable. Her voice, though not big, is of great carrying power. It was heard to greatest advantage in a song from Tschaikowsky's "Ver- söhnung," which the concert giver interpreted with infinite charm. New to Dresden were four songs by Jean Sibelius, termed "The Rendezvous," full of passionate expression; "The Dream," very original; "The Bird's Play" and "Black Roses," all of them revealing both individuality and artistic inspiration. They were highly acknowledged by the press. The program further contained selections from Merikanto, "Finnish Lullaby," Melartin's "Mirjam's Song" and Järnefelt's "Sunshine." Three songs by Richard Strauss closed up the interesting evening. Among the latter the one termed "Befreit" revealed in full the quite exceptional "Vortrags talent" of the singer. Herr Karl Ekman accompanied. He did very well.
21Some days previous I had the pleasure of hearing the artists in a private party, Herr Ekman on the occasion playing two of Sibelius' piano compositions, as well as Tschaikowsky's impressive and much admired "Dumka." Among honorary guests of the gathering was also Herrmann Scholtz, royal chamber virtuoso, whose generous offer to contribute some Chopin numbers as well as a few of his own compositions was greeted with enthusiasm. Scholtz no doubt is one of the best German Chopin interpreters. His poesy of conception and the warmth of his touch impressed one and all invariably. Frau Ekman is now touring on the Continent, her goal being Paris, where she is going to sing in one of the Colonne concerts.
23Several noteworthy representations took place in the opera house, though space this time forbids to go through them in detail. It is a pleasure to state that the two last operatic novelties, viz., Strauss' "Feuersnot" and Buongiorno's "Mädchenherz" (though vastly differing from each other), continue to draw good sized audiences. The former, when produced the other night, was followed by "Pechvogel und Lachtaube," a ballet by Y. Pittrich and C. Scheidemantel, of which I can only say that it is not very important and failed to interest me. As for the musical part of Buongiorno's opera it grows upon you by frequent hearings. Alba's role counts among Erica Wedekind's best parts. She is constantly improving histrionically; vocally she is hors de concours. Schuch has trusted the lead of this work to the experienced hands of Mr. Kutschbach, who is a very good conductor.
25I knew Godowsky was playing in Dresden in a private musical society, but I could not hear him because of my not being a member, sadly enough. We all are looking forward to hear him in public here.
27Platzbecker's operetta, "Der Brautvater," experienced its first hearing on January 10, the day of Sada Yacco's appearance in the opera house. It was much lauded by the press.
29The newly established Dresden Choral and Vocal Society, under Waldemar von Baussnern's conductorship, will appear for the first time next Friday. Händel's "Herakles," arranged by Chrysander, will be rendered.
31Frau Krammer, of the Royal Opera, will leave for Budapest before long. Charlotte Huhn has been requested to appear in several of her best roles as a guest of the Royal Opera. She is a great favorite in Dresden.
33A. INGMAN.
35SERRANO PUPILS ENGAGED TO SING.—Miss Hattie Jacobi, the soprano, who is a pupil of Mr. and Mrs. de Serrano, has been engaged to sing at the Baltimore Saengerfest.
37Miss Rosemarie Campbell, another pupil, will sing at the Arion Club, Providence, R. I., on February 11. The club will give "Aida" in concert form.
39THE ONLY "LESCHETIZKY" SCHOOL OF PIANO PLAYING IN AMERICA.
41Named after PROF. THEO. LESCHETIZKY, of Vienna, by his special permission.
43Mme. DE WIENZKOWSKA, DIRECTRESS AND FOUNDER.
45PROF. LESCHETIZKY'S Sole Principal Assistant in this country, formerly in Vienna; also Concert Pianiste.
47CARNEGIE HALL. Address Communications: 147 W. Eighty-second St., NEW YORK CITY.
49LESCHETIZKY—"Mme. Wienzkowska's success as a piano virtuosa and teacher is eminent."
51PADEREWSKI—"Mme. Wienzkowska is a finished pianiste and possesses an extraordinary ability of communicating to others a complete knowledge of her art."
53HANS RICHTER—"I consider you an artist of finest esprit and taste, and a representative of a most solid school."
55Mme. Charlotte MACONDA
57JUST RETURNED FROM AN IMMENSELY SUCCESSFUL TRANSCONTINENTAL RECITAL TOUR.
59Oratorio, Festival, Concert and Recital Engagements now Booking.
61Sole…. Management, LOUDON G. CHARLTON, Carnegie Hall, NEW YORK.
63GEO. W. JENKINS, TENOR.
65Sole Management of
67REMINGTON SQUIRE, 125 East 24th Street, New York.
69Most Versatile and Brilliant American Soprano.
71Re-engaged for New England Festivals.
73(THIRD CONSECUTIVE SEASON).
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