Scan 28
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
66 lines. Read by computer on 22 September 2026. Printed page 29. See the scan on archive.org.
1cal accent of the original foreign production in a unity.
3And why does the singer call herself "Madame"?
5Mr. Wyman, I'll wager, never signed himself "Monsieur." Then why should Mrs. Wyman advertise herself as "Madame"? Is she French? She doesn't look it.
7Mr. Janpolski sang his aria in Russian, which one critic remarked "may have accounted for his singular tone production and facial expression. He also sang with unmitigated fervor."
9It was pleasant for the auditor on this occasion not to be over-annoyed with the "kindergarten demonstrations" of the chorus breaking into applause at the sight of an approaching soloist or the honored conductor, or at the end of some soloist's effort.
11Now it must be said, to the credit of the women of the chorus, that in a most appropriate manner they did not intrude themselves upon the attention of the audience with any fanfaronades when those engaged to assist the club in the entertainment of the patrons who pay the money that supports the organization came upon the stage or did their turn in the performance. What little applause they vouchsafed was of a most timid kind.
13The men also, to a certain degree, refrained from the exuberant demonstrations that have formerly intruded upon the sole right of the audience to express an opinion on such occasions. There were a number of youthful looking male members, however, who still with undue excitement broke out at the appearance of someone, or after a performance, as if they would shout to the audience: "Sic 'um; Sic 'um!"
15If the soloists and conductor must be encouraged in their undertaking, why could not a committee be appointed, say, two men and two women, to escort them on the stage and with cordial hand pressing tell them that whatever the audience might think regarding their performance they may be assured that the chorus to a man and woman was with them, and that they need not fear but that a return engagement will await.
17Mr. Gericke's program for the fourteenth Symphony concert embraced Tchaikowsky's "Manfred" Symphony; Slavonic Rhapsody, op. 45. No. 1, Dvorák, and Prelude to "The Meistersinger."
19The performance of the latter named was a splendid display of the wonderful polyphony that Wagner has so melodiously employed in his Prelude to this, his masterpiece.
21Gericke had the whole detail at the point of his baton, and brought out the important theme at the right moment, in the ensemble of the ever moving material composing its spontaneous inspiration.
23Neither did he fail in the nobility of its outline, for the effect gained was superb.
25Dvorák's Slavonic Rhapsody proved a divestiment, for it was played with more regard to delicacy of orchestral performance than Gericke has favored his audience with for the many, many moons of his second engagement with Mr. Higginson.
27As for the playing of the "Manfred" music, I wish as much could be said.
29In order that my readers will not think I unreasonably grumble over the absence of expressive playing by the superb band under Gericke's conducting, and do not alone complain of his inattention to the finer demands of orchestral interpretation, let me forbear as regards my own criticism of the reading of Tchaikowsky's Symphony by Gericke, and append instead the judgment of the experienced and able critic, Howard M. Ticknor, of the Boston Herald:
31"The mere technical execution was superbly sure, and the intense, tremendous, overpowering passages in the first movement, the furious Bacchanale and the finale, the force and rush of which are planned for such impressive-ness that become well-nigh oppressive—all these were strikingly, splendidly and admirably done. But some of the other qualities of the high strung melodramatic music seemed to escape Mr. Gericke, with the result that the symphony lacked its necessary dynamic contrast. Not that it actually was uniform or monotonous, but that its distinctions were made rather in degree of loudness than otherwise. * * * Yet it would have been almost impossible to find one sustained passage last evening, which portrayed softness, tenderness, aspiration, poetry or mystery." Of the "Witch of the Alps" music, it was "heavy and laborious, having the sound rather of an orchestral exercise, perfumed determinedly and with mechanical perfection, than of an enchanting vision upon whose ethereal and enraptured beauty even the despairing Manfred paused to linger. * * * The pastoral third movement, too, lay open to much the same reproach of dull commonplace. * * * The enormous fortissimos, which present the tremendous black and doom bearing billows that roll over the unhappy wretch are meant to be darkened by the light, beauty, grace and gentleness of scores of other passages, utterly different in fundamental character and in formal presentation. It was just in the apprehension and illustration of this that Mr. Gericke fell short, and that his reading of the symphony became unsatisfactory. It was virtuosity, but not interpretation."
33How much longer is this distinction in degrees of loudness, only, to continue as the standard of Gericke's idea of contrast, not to speak of the lack of delicacy, refinement and the infinite delight of that always and ever absent element in his readings, a heavenly repose?
35Every time I hear this splendid artist play I am more and more impressed with the similarity of his conceptions and interpretations with those of the eminent von Bülow.
37The artistic model presented is the highest cast of intelligent, intellectual, but not super-emotional interpretation.
39It is the model that every student should emulate, leaving to its maturity the results that many psychically follow.
41Mr. Bauer should visit every piano community in our country and sow the seeds of his superior mode, so eminent in its fundamental value.
43That association of wind players, members of the Boston Symphony Orchestra, known as the Longy Club, gave its second concert on Monday evening of last week at Chickering Hall to a very small audience, let it be said to the disgrace of the music patrons of this city.
45It does seem as if a sufficient number of subscribers could be obtained in Boston to amply support the enterprise of these excellent artists, especially as the combination is one that cannot be heard in the world elsewhere, except perhaps in Paris.
47It makes one believe that the great rush for tickets and the high price paid for premiums to attend the series of the Symphony Orchestra is because it is the "fad" to do so rather than a desire to improve one's musical opportunities.
49Mr. Longy, the eminent first oboe of the Symphony Orchestra, is the ruling spirit of the undertaking.
51The program embraced Beethoven's Octet in E flat, for two oboes, two clarinets, two bassoons and two horns; Suite, for flute and piano, by Widor, played by Mr. Maquarre and Mr. Gebhard; and Quintet, for flute, oboe, clarinet, bassoon and piano, by Caplet.
53Generally speaking the performance was most excellent.
55Mr. Maquarre exhibited in the Widor piece how much he has improved in tone, intonation and artistic facility since he first came to the Boston orchestra as the successor of that incomparable master, M. Molé, whose separation from the orchestra should never have been permitted.
57The Widor Suite is a most gracious work of excellent value musically and happily adapted for a display of the performer's ability.
59The Caplet Quintet is a labored effort on the part of the composer, which grows more and more wearisome as it goes on, regardless of the clever management of the instruments employed. It is extremely difficult and trying for the performers, but the difficulties were mastered and all possible effect imparted in the playing.
61It is a long time since I have been so amazed and wonderstruck as I was at the playing of Florizel Reuter last Wednesday evening in Symphony Hall.
63In fact, here is an infant phenomenon; a Wilhelmj of tender years.
65I could hardly believe my eyes when I looked at this beautiful, sober, intent and absorbed child playing upon a
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