Scan 29
Musical Courier 1902-04-09: Vol 44 Iss 1150, 1902
44 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1CINCINNATI, April 5, 1902.
3THE first presentation in this city of Mr. van der Stucken's "Pax Triumphans," a symphonic festival prologue, written for and performed at the Brooklyn Saengerfest in July, 1900, was the distinguishing feature of the tenth and last Symphony concert of the season yesterday afternoon and evening in Music Hall. Mr. van der Stucken is the originator of the symphonic prologue, embodying as it does rather the results of "impressions than the impressions themselves. The idea permeating the whole work is best expressed in the terse synopsis of the composer: "In times when cruel wars arouse the compassion of the civilized world, the followers of art assemble to celebrate this loftiest work of peace."
5In the expression of his ideas the composer uses an augmented orchestra, besides four herald trumpets in the distance, four trombones, a tuba, kettle, snare and big drums, cymbals, triangle, tam-tam, large and small bells, harps and organ. Mr. van der Stucken is a master in the use of instrumental device, and in this particular instance he seems to have surpassed himself and succeeded in creating a work of art that is both interesting from the musician's standpoint and tremendously effective. From the first notes of the "Call to Arms," through the development of the succeeding themes, embracing the "Lamentation to Humanity," "Brutal Force," "Longing for Peace" to the final apotheosis, concluding with the chorale, "Now, Thank We All Our God," the interest never flags. Each subject receives a powerfully dramatic treatment—natural to the thought and situation, with all the color aid of the most modern resources of the orchestra. The influence of Wagner is plainly felt in the instrumentation, but it is not obtrusive. A certain mold—a definite characterization—the very train of thought marks its individuality. It is the work of a man who has something to say and knows how to say it. The themes are worked out with nice distinctness and there is no confusion in the detail. Particularly effective is the apotheosis with its deeply religious and fervent sentiment, leading to a great climax in the chorale, in which, according to the composer's intention, the audience is expected to join with the chorus. This part of it yesterday was undertaken by 500 children from the public schools, who had been specially trained for it by Professor Zeinz and other music teachers. As the full augmented orchestra is used in the chorale the joining in of the audience with the children's chorus would have made it more imposing, but such as it was, the effect was electrifying. The children knew their parts well and their promptness of attack, as well as fine tone volume deserve to be complimented. "Pax Triumphans" is a work of such modern classic proportions that one hearing will hardly suffice to become acquainted with its merits, and it would be well to provide a second hearing for the public at some future concert. The orchestra played it with thorough appreciation, with unswerving fidelity to the composer's intentions.
7A dramatically contrasted and well poised reading was given the Raff Symphony "Lenore."
9In the first allegro the violins played the repetition of the love theme with a great deal of intensity. The march was given with a delightful sense of its import and the strictest attention to rhythmical precision. The gruesome detail in the last movement was definitely brought out and the final apotheosis was faithful to its inspired character. The "Euryanthe" Overture was clear in its outlines and responsive to the spirit of the work in its spontaneity.
11Mrs. Mary Hissem-de Moss, the soloist, was welcomed as a home production who has already attained a very high place on the concert stage. There is no exuberance in saying that few, if any, of the vocalists at the Symphony concerts who have been heard here for the past six or seven years have given quite as much unqualified satisfaction as did Mrs. de Moss yesterday. It is the well earned result of the genius of hard work, combined with the possession of a beautiful voice that was never overtrained. The absolute purity of her voice reminds one of the great prima donnas in their best days, and her tone production is as nearly faultless as it can be. Few soprano voices are so pliable alike to the requirements of oratorio and coloratura singing. The expansion, breadth and finish of her voice must have been a matter of surprise to those who heard here here a few seasons ago. She sang "With Verdure Clad" in the true oratorio spirit and with unfailing repose. Her miscellaneous numbers were three songs by Beethoven, Schumann and Mendelssohn respectively. One of the best merits of her singing is her distinct pronunciation and pure enunciation.
13On Tuesday and Wednesday evenings, April 1 and 2, the first performances in this city of Nicolai's tuneful opera, "The Merry Wives of Windsor," was given by the School of Opera of the College of Music, under the direction of Mr. van der Stucken. It marked an event of significant importance in the history of that institution. It is perhaps the first time that an opera of such pretentious merit was ever presented in this country by an educational institution, and the high standard which was reached in its performance was a great tribute to the dramatic faculties of Mr. van der Stucken, who was responsible for the training of the soloists, chorus and ensemble—in fact, the entire enactment. Those who went to enjoy a creditable amateur performance were agreeably disappointed. It was altogether of a better, lofter and more advanced type. The entire staging of the opera was correct and satisfactory in every detail.
15These accessories reached a beautiful climax in the fairy scene of the third act—a reproduction substantially of Shakespeare's fifth act in the original drama. The dance of the fairies, represented by school children and especially trained by Miss Zumstein for this occasion, was daintily performed, and they seemed to tease the prostrate form of poor Falstaff with a vengeance. The Symphony Orchestra, under the direction of Mr. van der Stucken, played the overture with much spirit and finish, and the accompaniments in each and every act supplied the nerve and tissue to the action in a delightfully artistic manner. As to the cast, Miss Therese Abraham is to be complimented on the exceedingly happy conception she put into the part of Mrs. Ford. Her voice in coloratura and exquisite musical quality might well hold its own with any of the prima donnas of the operatic stage. In the same lines as to the acting and voice the impersonation of Mrs. Page by Miss Elsie Louise Bernard may be criticised. It was a well poised and enjoyable characterization. Edward Hartman was an excellent Sir John Falstaff—not overdone—perhaps not of sufficiently weighty stature, but ludicrous enough to satisfy Shakespearean requirements. One of the best characters of the evening was that of Fenton as represented by J. Wesley Hubbell. He has a tenor voice whose lyrical capacity is never in doubt. Some of the solos are real gems, and their lustre was well brought out in the singing. The ensemble and chorus at the close of each act reached a fine climax. The smoothness of the performance in the byplay and changing of scenes was largely owing to the training of Hoeffer McMechan. "The Merry Wives of Windsor" was given its first performance in Germany in 1849. The translation and adaptation from Shakespeare of the version used was made by J. A. Homan. Besides those mentioned already other members of the cast did creditably—especially Carl Gantvoort as Page, William Ramsey as Dr. Caius, George Baer as Ford and M. C. de Bruin as Slender.
17A recital by pupils of Mrs. William McAlpin on Thursday evening, April 3, in Aeolian Hall, was one of those significant events that go to show how much an able teacher can do in the direction of bringing out talent to the fullest extent by correct methods. Some of those who appeared—such as May Perin, Naomi Chapman and Jessie Langlands Thomson—are acquiring a proficiency where the student's domain ceases and the studious professional life begins. A particularly promising voice is that of Mary Rice. She has a genuine contralto of fine range and uniformly musical quality. Both as a teacher of the voice and a prima donna Mrs. McAlpin is asserting an artistic standard which will make itself widely felt, and which ought to draw to her studio pupils from all parts of the country. The program was as follows:
19Overture in A flat………………………………………………………..Read Aeolian Pipe Organ.
20Duet, Holy Mother, from Maritana………………………………….Wallace Mrs. William Blackman and Mary Rice.
21Four Leaf Clover………………………………………………………..Coombs Bertha Calvert.
22To Be Sung on the Waters…………………………………………..Schubert Eugenia Pedretti.
23For All Eternity………………………………………………………..Mascheroni Bessie Keith.
24Fiddle and I………………………………………………………..Jessie Langlands Thomson.
25Ave Maria………………………………………………………..Schubert
26Impatience………………………………………………………..Schubert
27Rosamonde………………………………………………………..Chaminade May Perin.
28Figlio Mio, The Prophet…………………………………………..Meyerbeer Mary Rice.
29Summer………………………………………………………..Chaminade
30Japanese Love Song……………………………………………..Thomas
31Harp in the Air, Maritana………………………………………Wallace
32Concerto, op. 76……………………………………………..De Beriot William Amsler. one of two readings
33Concerto, op. 76…………………………………………………….De Beriot William Amsler. one of two readings
34Slavonic Song………………………………………………………..Chaminade Naomi Chapman. one of two readings
35Slavonic Song…………………………………………………….Chaminade Naomi Chapman. one of two readings
36Il Guarany, aria……………………………………………..Gomez Jessie Langlands Thomson. one of two readings
37Il Guarany, aria…………………………………………………Gomez Jessie Langlands Thomson. one of two readings
38Rondo Capriccioso……………………………………………..Mendelssohn Pianola.
39Carnations (MS.)……………………………………………..Stanbery
40Reiteration (MS.)……………………………………………..Stanbery
41I Dreamed (MS.)……………………………………………..Stanbery
42Ella May Bassett.
43Accompanied by the composer, Philip Stanbery.
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