Scan 33
Musical Courier 1902-03-05: Vol 44 Iss 1145, 1902
26 lines. Read by computer on 21 September 2026. Printed page 34. See the scan on archive.org.
1managed to blind the public and the critics of Berlin to his glaring shortcomings.
3Max van de Sandt, a Liszt pupil, is a pianist of excellent technic and striking musicianship. Beethoven's Sonata, op. 110, was read with insight, precision and authority.
5Emma Koch has long been regarded as one of Berlin's best female pianists. She is a reliable player, of solid attainments. Her performances of Liszt's B-A-C-H Fugue might well have been envied by many a man.
7Adrian Rappoldi is not the least talented of a well-known family of musicians. His violin playing is mature, vital and effective. He is young, and should soon make a stir in the violin world.
9Ellen Bogler-Brachvogel—but no, I won't start on the subject of recent song recitals. I might become sad, and that would never do.
11Berlin Gossip.
13The Royal Opera announces these works for the current week: "Fra Diavolo," "Lohengrin," "Carmen," "Cavalleria Rusticana," "Faust," "Der Evangelimann" and "Tannhäuser." The Theatre des Westens has prepared this attractive operatic menu: "Masked Ball," "Manfred" (with music by Schumann), "La Traviata," "Vienna Blood" and "Beggar Student."
15Director George Henry Pierson, of our Royal Opera, died suddenly on Sunday afternoon, February 16. Heart failure, following close on a stroke of apoplexy, was the immediate cause of death. Pierson had celebrated his fiftieth birthday only a few weeks ago. The energetic director, right-hand man of Intendant von Hochberg, was born in Hamburg, and after graduating from college and studying the book publishing business he engaged in the latter profession at Dresden. It was here that he first met Count von Hochberg, who was then directing the annual Silesian musical festivals. The artistic acumen and keen business insight of Pierson at once won him the confidence, and later the lasting friendship, of the count. When the Emperor appointed von Hochberg director-general (intendant) of the Royal Theatres in Berlin, Pierson was at once summoned to help his friend in the work of organization and modernization. Old von Hülsen, the former intendant, had left things in very bad shape. The theatres were clogged with dead lumber, in the shape of aged actors, broken down singers and tottering orchestral leaders. Caustic Hans von Bülow had put a severe but well deserved slight on the Berlin Royal Opera by calling it "Circus Hülsen." Worst of all, Count von Hochberg faced an enormous deficit that was yearly growing larger and ever threatening more seriously the significance and dignity of royal opera and drama in the German capital. Pierson began as an unpaid secretary, but his energy and determination were such that his power and influence were soon given wider scope by the Emperor, who made Pierson a director and conferred on him the title of royal privy councillor. Then came the era of sweeping reforms. Count von Hochberg was an intendant in name only. Pierson directed everything. Young, modern directors were engaged for the Royal Opera—Richard Strauss, Felix Weingartner and Dr. Carl Muck. The cast was strengthened by the acquisition of such famous singers as Thila Plaichinger, Ellen Gulbranson, Emmy Destinn, Knüpfner, Kraus, Grüning, Hofmann, Stammer and many others. Before all things, the repertory was relieved of its Chinese wall. The doors were thrown open to Wagner, to the Neo-Italians, to Humperdinck and to other modern composers who were fighting for originality and progress in music. Even French operas were produced, a bold innovation at a time when the hot blood of 1870 had not yet entirely cooled down. In a few years Pierson had wiped out the annual deficit of 1,000,000 marks, and at the close of several seasons he was able to show a considerable profit. Therein, to our practical American minds, lay Pierson's greatest achievement. Increased receipts show increased attendance, and increased attendance shows increased interest. The fact that Pierson employed artistic means to attain these results but increases the value of his services. The Berlin newspapers always complained that Pierson paid too much deference to the box office, and even in his obituary notices they do not hesitate to repeat the reproach. Can any opera undertaking be conducted on a successful basis without due deference to the box office? This is a matter of personal curiosity.
17As a man, Pierson had many friends. He was of a genial disposition, always approachable and ever ready to do favors where he thought they would help. It will be a hard matter to find his successor. Pierson's death will doubtless be followed by Count von Hochberg's resignation. Likely candidates for the latter's position are Georg von Hülsen (son of the former Berlin intendant), of Wiesbaden, an intimate friend of the Kaiser, and Colonel von Chelius, the composer of the successful opera, "Haschisch." Colonel von Chelius is at present the German military attaché in Rome. This morning a memorial service for Director Pierson was held at Bechstein Hall. Prominent members of the royal theatres assisted.
19The deceased had always been a right royal admirer of America, and many times he had championed the cause of American singers at the Royal Opera.
21The memorial services for Hermann Wolff were held at Beethoven Hall, and proved to be most impressive. Prof. Hugo Reimann opened the ceremonies by playing a Bach chorale on the organ. Professor Reimann also delivered the memorial address, a speech much too long, and to the minds of many listeners not sympathetic enough. The Philharmonic Orchestra, under Professor Nikisch's direction, played the "Funeral March" from Beethoven's "Eroica" Symphony. Prof. Siegfried Ochs and his Philharmonic Chorus gave a wondrously beautiful performance of Brahms' noble "Song of Fate." Then followed the "Parsifal" introduction, for orchestra, led by Rebiczek. The audience included nearly everybody of prominence in the artistic world of Berlin. The next day Wolff's remains were taken to Hamburg and cremated there. The Wolff concert agency is running smoothly under the skillful management of the new owners, Hermann Fernow and Charles Wolff.
23The much advertised and anxiously awaited minstrel show, given by the American musical students here, took place on February 14 in the Künstlerhaus, and was a rousing and complete success. Almost 3,000 marks were realized toward the establishment of a fund for needy American students. A distinguished audience was present, including the Ambassadors of the United States, England, Austria, Chili, Persia, &c. The Berlin newspapers unite in calling the show one of the most clever comic entertainments that has ever been given here, and they one and all request an early repetition. This will take place about March 10, and a third performance will be given on March 15 in Dresden. Omitting all details, I quote from the German Times several paragraphs of interest to the readers of this column: "Frederick L. Beerman was the leader. The amateur members of the orchestra were Arnold Lohmann, Rudolph Bauerkeller, William G. Liebling, John Gibbs, Hermann Jacobs and F. Raymond Wood.—J. Nelson Veit made a hit with his realistic singing of 'Lam.'—Mrs. Dreher sang 'For All Eternity' with a sympathetic well rounded voice, and appropriate sentiment.—Louis A. Hirsch's song about 'Mamie' was exceedingly clever in conception and delivery.—Miss Lila Haskell won dramatic accents from Glover's 'Norwegian Love Song.'—Frederick Wile, in a gorgeous get-up of red dress coat, gilded buttons, dazzling plate glass diamonds and American flag shirt front, sang 'Coon,' and caused shouts of merriment.—Mr. Schalk was a bold and lusty 'Highwayman.'—Miss Daly sang 'Kentucky Babe' with a sweet voice and a most winning touch of pathos.—Mr. Dougall delivered 'Brown October Ale' in a ringing, convincing voice, accompanied by a male octet.—Miss Wright won showers of plaudits with her pretty and refined interpretation of 'Rosie, My Posie.'—Mr. Derrick was given a hearty reception after his rousing performance of 'The Clang of the Forge.'—Miss Woodbury closed the first part of the entertainment with an excruciatingly comical performance of 'Mr. Dingy.'—Mr. Veit and Mr. Hirsch became involved in a heated argument as to who was the better violinist. A valuable 'Stradiginnis' was borrowed from a member of the orchestra, who cautioned extreme care, as the instrument had been presented to him by Professor Choakim (Joachim). Mr. Hirsch attempted to play, and Mr. Veit at once interfered. A fierce combat followed, and the violin was broken into bits, to the despair of its owner. On this scene the curtain was rung down.—Then came the cake walk.—It caused a sensation.—Part three brought the olio. Miss Germaine Ames displayed a rich mezzo soprano voice, a trim figure and a piquant face, in a pretty gypsy song by Parker.—Kirk Towns sang Sullivan's 'Lost Chord,' and made an unequivocal success with his sonorous, well placed voice, and his artistic phrasing and enunciation.—'Ma and Mirandy,' a delicious satire on a certain type of Americans that sometimes come to Berlin, created roars of laughter. The skit was written by Leonard Liebling, who himself played the role of Professor Barthliczka. He was excellent in his make-up and in his German-American dialect. Miss Lum, as Mirandy, gave an inimitably ridiculous performance of the notorious 'Maiden's Prayer,' much to the professor's horror, and Miss Wright, as Ma, from up-country, was capital in her pride at Mirandy's accomplishments, and in her final denunciation of the professor.—The Plantation Quartet sang old-time songs, skillfully arranged for the occasion by Miss Marguerite Melville.—Arnold Lohmann revealed himself as a comedian of amazing talent and versatility, in an original sketch called 'The Crushed Tragedian.' He played the trombone and the violin, recited poetry, told anecdotes, drew rapid crayon sketches and made heroic speeches."
25Albert Stahl, a local publisher, through whose endeavors many of the works of young American composers were first made known here, has just placed on the market a set of seven piano pieces by Patrick O'Sullivan, of Louisville, Ky. This column recently contained unstinted
The computer misreads some letters and numbers. Where a name matters to you, read the scan.