Scan 4
Musical Courier 1902-02-26: Vol 44 Iss 1144, 1902
68 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 5. See the scan on archive.org.
1(no line here) one of two readings
2THE MUSICAL COURIER. one of two readings
4Berlin Branch Budget. one of two readings
6GERMAN HEADQUARTERS OF THE MUSICAL COURIER. one of two readings
7BERLIN, W., LINKSTRASSE 17. one of two readings
8February 12, 1902. one of two readings
10WILHELM TAPPERT, composer, pianist and friend and early champion of Wagner, is Berlin's oldest and best music critic. He writes for the Kleines Journal. His articles are lively and interesting, and in spite of the man's prodigious learning, not in the least pedantic. He has a rare sense of humor, a quality that is conspicuously absent in the writings of his colleagues.
12The recent performance of Beethoven's Ninth Symphony (by the Stern Singing Society) led Tappert to give us a most interesting review of the varying fortunes of the work, and to cite some opinions of Beethoven's contemporaries that would seem ridiculous, were they not the utterances of men whose names command respect. These data may be as new to you as they were to me. Tappert headed his sketch
14BEETHOVEN'S NINTH SYMPHONY.
16The history of the Titanic work is interesting and instructive. I deem this short review of importance, because there are many conductors whose ignorance of certain facts leads them into irreverent interpretations of this wonderful creation. The "Ninth" was composed during 1822 and 1823. The first performance took place in Vienna at the Kärnthnerthor Theatre, May 7, 1824. Michael Umlauf was the conductor and Beethoven merely "assisted"; i.e., he suggested the tempo for each movement. In November, 1822, the deaf master had made his last vain attempt to lead an orchestra in person. On that occasion Anton Schindler ("Amé Beethoven," he called himself) wrote these words in Beethoven's conversation book: "We will be satisfied with anything—even with your green frock coat, which you can wear while directing. The theatre is dark and no one will see that your coat is green. O great master, you do not own even a black dress coat."
18The program consisted of the overture, op. 124, "Zur Wiehe des Hauses"; three hymns. "Kyrie," "Credo" and "Agnus Dei," from the "Missa Solemnis," and a "symphony for large orchestra." That was the Ninth! Henriette Sontag, Karoline Unger, the tenor Haizinger and the basso Preisinger constituted the solo quartet. The basso could not sing high F sharp; so Beethoven made several changes in the recitative. The performance was imperfect in the extreme. Because the orchestra was studying a new ballet, only two (!) rehearsals were allowed for the symphony. The receipts were 2,200 gulden, the net profit was 72 gulden! The theatre charged 1,000 gulden for rent. The regular opera subscribers to the boxes insisted on paying—nothing! Beethoven is said nearly to have fainted when the sorry balance sheet was shown him. The second performance of the Ninth, on May 23, took place before a comparatively empty house. The court remained away, although Beethoven had personally invited the royal family. Only one archduchess appeared. That was the financial success of these first two performances.
20Beethoven's contemporaries did not know what to say about the work, so in the beginning they said nothing. Further productions were few and far between: Frankfort and Aix-la-Chapelle, in 1825; Leipsic and Berlin, 1826; and Stettin, in 1827; Paris, 1831; and Dresden, twice in 1838, under Reissiger's direction. "A miserable fiasco," wrote Richard Wagner, who, in spite of most determined opposition on the part of influential persons, performed the work in Dresden, 1846, at an Easter Sunday concert and won for it a ringing triumph. If this grandiose creation is to-day properly appreciated in Germany, the sole thanks are due to Wagner, who first gave us the key to the wonderful structure.
22At that time the Ninth was more notorious than fa- one of two readings
23mons. How divided were the opinions of experts may be seen from the following criticisms: one of two readings
24At that time the Ninth was more notorious than fam- one of two readings
26"Next to Christ, Beethoven's Ninth Symphony is the greatest thing in the history of the world." (A Dresden admirer.) "The symphony is one of the greatest deeds of our century." (August Kanne.) "The first movement speaks with the whole, imposing majesty of a god." (Robert Schumann.) "An erraticism of a man made unhappy by his deafness," (Allgemeine Musik-Zeitung, 1828.) "The Ninth Symphony affords me no pleasure." (Mendelssohn.) "The last works of Beethoven make me feel as though I were in a madhouse." (C. Woldemar, 1828.) "This kind of Music makes me sneeze." (Cherubini.) "Those who like the Ninth Symphony like the bizarre better than the inspired, the formless better than the noble." (David Strauss.) "Beethoven lacked aesthetic culture and love for the beautiful." (Louis Spohr.) Hermann Hirschbach wrote in the Neue Zeitschrift für Musik, 1838: one of two readings
28First Movement—Well constructed, but monotonous. one of two readings
29Second—Begins well, then grows monotonous. one of two readings
30Third—The Adagio is rather weak. (To this Schumann, who edited the paper, remarked in parenthesis: "Not at all our opinion.") one of two readings
31Fourth—Idea good, but dry in invention, and much too long. one of two readings
32"The finale, with its chorus, is the weakest part." (Leipziger Musik-Zeitung, 1825.) "The Ninth Symphony has one great fault: Brahms should have written the last part." (F. ans von Bülow.) one of two readings
34The publisher, Schott, of Mayence, paid 600 Rhenish guilders for the work. The score was published in 1826. In 1827 Beethoven announced the metronome marks, in the magazine Cäcilia. I mention this because the tempo of the D major Trio (in the scherzo) is rushed most unmercifully by some of our modern leaders. Their error is due to a misprint. Beethoven wished for the tempo of the scherzo dotted half-note = 116, and for the presto half-note = 116. In the modern scores the tempo is given as 116 for the whole note! one of two readings
36Originally the trio was written in 2-4 time, but just before printing Beethoven changed the rhythm to 2-2, or alla breve. He corrected a few measures, and relied on the engravers to make the changes throughout. This was not done. one of two readings
38Richard Wagner did not allow himself to be deceived. At the foundation ceremonies in Bayreuth, 1872, he played the Ninth Symphony, and took the scherzo in a "comfortable, convenient tempo." The precedent for this idiotic modern exaggeration of tempo was set by Herbeck, 1868. He need not be proud of his achievement! one of two readings
40"Heilmar," an opera in three acts and prologue, by Wilhelm Kienzl, composer of "Der Evangelimann," was produced at the Royal Opera on January 28. one of two readings
42Let us get at the story immediately. The book deals with the motive of renunciation. The shepherd, Heilmar, suddenly discovers that he has a mission in life. A fairy tells him so. She tells him, too, that he will be endowed with miraculous healing powers, so long as he shall remain pure, disdain all worldly reward, sympathize with humanity and renounce the love of woman. So soon as he shall desire of earth's pleasures shall he deal out death instead of blessing. Maja, a peasant girl, proves to be the temptress. He cures her of a long illness and she loves him. He returns her love. At once his touch kills Maja's mother. Heilmar curses the girl, and becomes a roaming evangelist. Maja repents, and is on the point of marrying Heilmar's brother, Rolf. The evangelist suddenly appears on the scene. Maja realizes her crime. A woman begs for help. Maja rushes to Heilmar's arms and dies there, expiating her own wrong and that of Heilmar. Accompanied by cheers he sets sail for a plague infected island. one of two readings
43A woman begs for help. Maja rushes to Heilmar's arms and dies there, expiating her own wrong and that of Heilmar. Accompanied by cheers he sets sail for a plague infected island. one of two readings
45This description is not poetical, but it covers the main points of the story. You can judge it for yourselves, you who know Wagner's "Parsifal," "Lohengrin," "Flying Dutchman" and "Tannhäuser" and Meyerbeer's "Prophet." Wagner was fond of the renunciation theme; so is Kienzl, for he has used it also in his "Evangelimann." Wagner is the better man, however.
47"Heilmar" is not a new opera; it was written ten years ago, but not produced. Kienzl might well lay it away for another ten years, and then forget all about it. We will, at any rate.
49Perhaps that is a bit severe; but, really, why such operas on such subjects and with such music? "Heilmar" is a good enough evening's entertainment in its way. There is a pretty market scene, enlivened with some graceful dancing and pretty waltz tunes, and several of the choruses are well made and effective. The instrumentation is skillful and the handling of the few motifs intelligent and artistic. The work has no set form. The solo passages are sometimes in the style of Wagner, sometimes in the style of Puccini. The ensembles are always in the time honored operatic style.
51All this is no grievous indictment against Kienzl. It proves that he knows how to use his material. But there's the rub. He has no material. His musical thoughts are empty, blatant, garish. There are no weight, no eloquence and no conviction in his musical speech. One feels all the time that Kienzl is making music, not feeling it. He prates, he mouths, like a garrulous person who tries to cover poverty of ideas by a multiplicity of words. All this "Heilmar" music is tonal verbiage.
53An instance: When Heilmar comes on, his hands upraised in blessing, working his cures, the crowd sings, "Praise to the Lord on High," and they praise the Lord with a miserable "melody" of four notes built on the tones of the tonic C major chord.
55Kienzl is a master of stagecraft, and he introduced several episodes, absolutely superfluous, that did not fail to draw the applause of the undiscerning. This applause brought the composer before the curtain several times. He found worthy interpreters in Herr Hoffmann (Heilmar), Fräulein Hiedler (Maja) and Dr. Muck, the leader.
57Hermann Wolff, the well-known Berlin manager, died on February 3 of cancer of the stomach. He was fifty-seven years old. The bald biographical facts of his career are as follows: He was born in Cologne and studied music with Kroll and Wuerst. In 1878-79 Wolff edited a music paper and wrote criticisms. Later he was a salesman in a music house, and then he became Rubinstein's private secretary. Finally he founded the Philharmonic Orchestra and started his concert agency. Both ventures have been signal success. The Wolff Bureau grew in magnitude as Berlin developed and Germany prospered after the Franco-Prussian War. Circumstances favored Hermann Wolff and he knew how to use them. He made himself the musical czar of the Continent. Of late years the famous agency owes its fame to the energy and discretion of Hermann Fernow and Charles Wolff, the gentlemen who are now the sole owners of the institution. Under their régime a broader basis of operations and many urgent reforms are promised.
59The seventh Nikisch concert was unexciting. Raoul Pugno played Grieg's A minor Concerto. The rotund French pianist has a masterful technic, exquisite taste and a large, sympathetic tone. Nikisch and his men were best in the last movement (theme and variations) of Tschaikowsky's Third Suite, op. 55. Beethoven's "Eroica" Symphony closed the program.
61Singers who have a large following here and who are always deservedly applauded to the echo are Dr. Ludwig Willner, Therese Behr, Raimund von Zur-Mühlen and Lula Mysz-Gmeiner.
63Of recent violinists, my fiddling colleague, Arthur M. Abell, has told you the tale. Hubermann, Enesco and Wietrowetz were the performers.
65Händel's "Acis and Galathea" was sung by the Singakademie. The charming work, over 200 years old, is full of quaint humor and delightful melody. Has it been done in America.
67Ferruccio Busoni is essentially not a perfect player of Chopin. The greatest piano composer was a tone poet, and only a tone poet can properly understand and interpret him. Poetry in music is a much misunderstood quality. It should not be confounded with sentimental-
The computer misreads some letters and numbers. Where a name matters to you, read the scan.