Scan 11
Musical Courier 1902-05-14: Vol 44 Iss 1155, 1902
55 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1DRESDEN, FRANKLINSTRASSE 20.
2April 24, 1902.
4WALDEMAR VON BAUSSNERN, a Dresden composer and conductor, is a musician who goes at his task seriously. Holding the position of a leader of the newly organized "Dresden Chorverein," he shows commendable enterprise in the concerts of this society, where the masses are treated to music of high order. Händel's "Herakles," in January, was followed April 15 by Liszt's grandiloquent oratorio "Christus," the choice of which testified to the high aims of the chorus, with which Herr von Baussnern has done wonders during the short time of its existence.
6Liszt's work, to judge from only one hearing, impressed me as being a touching outflow of deep subjective feeling, setting the idealism of religion to music, not in the usual, stiff "objective" oratorio style, but strongly contrasting Händel and Bach, free and impulsive in form. Ancient church service music of the Roman Catholic pattern forms the ground upon which the work is founded. Faith, trust and a strong belief characterize the spiritual content, throwing at the same time the figure of Christ as the superhuman impersonation of Christianity in its entirety into bold relief. The score contains great expression, other parts are replete with religious ecstasy, transcendental in design and vibrating with nervous sentiment.
8The oratorio is in three chapters: (1) The Christmas Oratorio, (2) Epiphanias, and (3) the Passion and Resurrection music. Instrumentation and orchestral effects, though not reaching up to Wagner's, are descriptive in quality and full of Stimmung. Although space forbids going into details, mention should be made of those numbers which at first hearing impress the listener invariably, such as the "Tristis est anima mea," the sad and desolate music of which cast depression over the hearers, the "Stabat Mater dolorosa" and "Speciosa," and the "Wonder," which is full of color, &c. Variety of style and desirable contrasts are richly displayed in the chourses.
10The choral forces did admirable work, less so the soloists, who were only comparatively equal to their tasks. The soprano, Johanna Dietz, of Frankfort, realized expectations; the alto, Frau Adami, frightened her hearers by faulty intonation. Herr Fungblut (Berlin), and von Milde (Weimar), also assisted. Though several numbers had been struck from the score, the presentation lasted close upon three hours, which, considering that human receptiveness should have its limits, is too much. Nevertheless the work is so interesting and so impressive that it held our attention until the very last note.
12Liszt, according to various "guides" by Müller-Reuter, Jordan, and, as also stated by Edward Reuss in his excellent book, "Franz Liszt, ein Lebensbild," completed the work in 1866 at Weimar, having begun it in 1856. We owe Herr von Baussnern thanks for having introduced it here. The able conductor was applauded, and the laurel wreath he received at the close was a well deserved acknowledgment of his assiduous work.
14Professor Adolf Stern, whose personal connections with Liszt lasted for about thirty years, some nights previous to the concert delivered a lecture, as reported to me, on the importance of Liszt's personality in his compositions. It is said to have occurred exclusively before members of the society and a few personal friends. Considering Stern's well-known capacity and brilliant qualities as a lecturer, the effect may well be imagined; one regrets it was not repeated before a larger audience.
16Byron's "Manfred," when revived the other night in the opera house, subjugated several hundred of us by the wondrous power of its author's genius. Herr Wiecke in the title role is a veritable priest in the domain of high art. His "acting" seems no acting, but a "living through the part" in a most subjective way, so much so that the listeners in some scenes felt great sympathy with the man, whose depth of feeling and true emotion revealed itself so eloquently, so convincingly. When speaking those famous words to Astarte's ghost: "Thou lovedst me too much as I loved thee. We were not made to torture each other," &c., he stirred the house; indeed, the whole scene with Astarte and Nemesis was carried out in a way we shall not easily forget. Pauline Ulrich was a powerful Nemesis, Saalbach ideal as Astarte. Schuch conducted Schumann's music, which greatly enhanced the grandeur of the play.
18The next day I witnessed the concert of the Dresden "Liedertafel," given in aid of the Bismarck memorial fund. Johannes Werschinger conducted the chorus, delivering himself of his task splendidly. Otherwise the program was far too long and not well contrasted, so if applause was spent at the close, which I did not stay to hear, it certainly was given from thankfulness that the musical enjoyments of the fine concert were over.
20A highly interesting evening in the Court Opera House has to be chronicled, that of Pietro Mascagni's appearance here as a conductor of his world-wide famous "Cavalleria Rusticana." His Excellency Count Seebach, the royal intendant, gave the public the pleasure of meeting the composer, who by his first opera jumped into universal fame in one bound. Mascagni was enthusiastically received by the audience, among whom were many who remembered the storm of enthusiasm that greeted the initial performance of the "Cavalleria" here about ten years ago. The moment was overpowering, and I cherish it in my memory as a never to be forgotten event. Mascagni surprised his hearers by his slow tempi. The intermezzo seemed almost dragged. He ought to know, however, so there is no gain-saying, though Schuch's conducting pleases many of us better. It was nevertheless a highly impressive performance. Von Schuch sat in the front row of the parquet applauding vigorously. It was a beautiful representation. The orchestra, splendid.
22Gennaro Fabozzi, the blind court pianist to the Queen Dowager of Italy, and professor at the Institute for the Blind at Naples, gave a concert here, honored by the presence of the court. The criticisms were brilliant. No tickets having been sent to me, I regret not to have heard him, the opinions, however, about his unusual endowments being so highly favorable his appearance has to be noticed as quite exceptional. The Neueste Nachrichten gives interesting information as to the way in which he acquired the knowledge of reading music. His program embraced the literature from Bach to Liszt, as well as selections by Italian composers.
24Crescenzo Buongiorno is busy upon a new opera entitled "Michel Angelo."
26A. Sieberg, the esteemed New York composer, has had great success with a new concert waltz, which was performed by the Trenkler band.
28My readers will also be glad to hear that two young American artists intend before long to set out upon their first concert tour, which is to begin in India—if I mistake not. The two sisters, daughters of Mrs. Herbert Wharton, who in the American colony here hold a prominent social position, have been heard frequently in private circles this season (lately at a grand reception in the American rectory), and I can truthfully state that their performances gave genuine pleasure. The younger Miss Wharton, studying with Herr Elsmann, plays the violin. She gave a splendid reading of de Beriot's Thirteenth Concerto and soli. Miss Wharton, the pianist, very ably accompanied her sister. She studied for some time with Mrs. Potter Frissell (when in Dresden), upon whose excellent method—the Leschetizky school—she reflected much credit. After Mrs. Frissell's leaving for her post in America Miss Wharton entered the Royal Conservatory to follow her studies with Tyson Wolff. All good wishes follow the young artists. one of two readings
29My readers will also be glad to hear that two young American artists intend before long to set out upon their first concert tour, which is to begin in India—if I mistake not. The two sisters, daughters of Mrs. Herbert Wharton, who in the American colony here hold a prominent social position, have been heard frequently in private circles this season (lately at a grand reception in the American rectory), and I can truthfully state that their performances gave genuine pleasure. The younger Miss Wharton, studying with Herr Elsman, plays the violin. She gave a splendid reading of de Beriot's Thirteenth Concerto and soli. Miss Wharton, the pianist, very ably accompanied her sister. She studied for some time with Mrs. Potter Frissell (when in Dresden), upon whose excellent method—the Leschetizky school—she reflected much credit. After Mrs. Frissell's leaving for her post in America Miss Wharton entered the Royal Conservatory to follow her studies with Tyson Wolff. All good wishes follow the young artists. one of two readings
31A. INGMAN.
33GLOSE AND MRS. RHODES IN CALIFORNIA.—Adolf Glose, the pianist, is touring the West and the Pacific Coast with Mrs. Chas. W. Rhodes, the "Wagner lecturer," having filled engagements in Missouri and Kansas, on their way to the Women's Federation of Club's Biennial, at Los Angeles, Cal., where they appeared with great success on May 6, repeating lecture and music on the 8th, after which engagements follow in San Francisco, Portland and Seattle. This is Mr. Glose's fourth visit to the Pacific Coast. His daughter, Augusta Glose, has just returned from an eight months' engagement with Klaw & Erlanger's "Liberty Belles."
35HANCHETT AND INSTITUTE RECITALS.—The Brooklyn Institute of Arts and Sciences has invited Dr. Henry G. Hanchett to give another course of lecture recitals next year.
37NEW MUSIC.
38New Songs and Vocal Collections.
39G. SCHIRMER.
41THE number of new songs put forth annually in this country must be surprising, yet not so surprising as the average excellence in workmanship and novelty. In a large batch of songs sent The Musical Courier for review this month we find much to commend, little to deplore. The chief fault is a monotony of subject, which is unescapable, for at Christmas seasonable hymns, oratorios and lyrics must be expected, and Easter brings its appropriate music. Of the commonplace, old-fashioned song there is little evidence. Music making nowadays must be at least spick and span. Songs about the woes of mothers are not even tolerated in our vaudeville houses.
43The house of G. Schirmer has issued an "Anthology of Sacred Song; Celebrated Arias Selected from Oratorios by Old and Modern Composers." The selection and editing is by Max Spicker. Four volumes for soprano, alto, tenor and bass, respectively, cover wide territory. In the soprano album Haydn is represented by two recitatives and arias from "The Creation" and a recitative and aria from "The Seasons"; Hiller by "Saul"; S. de Lange, by "Moses"; Massenet, by "Mary Magdalene"; Mendelssohn, by two airs from "Elijah" and "St. Paul"; Mercadante, by "The Seven Last Words"; B. Molique, by "Abraham"; C. H. H. Parry, by "Judith"; R. Pugno, by "The Resurrection of Lazarus"; C. Reinthaler, by "Jephtha and His Daughter"; Rubinstein, by "Paradise Lost"; L. Spohr, by "Calvary"; A. Sullivan, by "The Golden Legend" and "The Light of the World"; Weber, by four excerpts from the "Harvest" cantata; Bach, by "Pentecost" cantata; Beethoven, by "Engedi"—his "Mount of Olives"; Benedict, by "St. Peter"; M. Costa, by "Eli"; Cowen, by "St. John's Eve"; A. R. Gaul, by "The Holy City" and "The Ten Virgins"; and Handel, by numbers from "The Messiah," "Alexander Belus," "Hercules," "Jephtha," "Joshua," "Judas Maccabeus," "Ode to St. Cecilia's Day," "Samson," and from "Susanna." This selection reveals variety.
45The alto volume contains the names of Bach, Benedict, Bennett (Sterndale), Martin Blumner, Costa, Cowen, Dvorák ("St. Ludmilla"), Gade, Gaul, Händel, Kiel, Mackenzie, Maréchal, Mendelssohn, Parry, Raff, Reinthaler, Saint-Saëns, Sullivan, Vierling and C. Lee Williams.
47The tenor and bass volumes—for we have not the space to enumerate the names of the arias—present the names of Bach, Barnby, Beethoven, Benedict, Bennett, Cowen, Foster, Gaul, Gounod, Händel, Haydn, Heller, Mendelssohn, Mercadante, Molique, Parry, Pugno, Reinthaler, Spohr, Stainer, Sullivan, Weber, Dubois, Klughardt, Mackenzie, Maréchal, Massenet, Raff and Rubinstein. Mr. Spicker has displayed taste and understanding in the editing and selecting.
49The same publishers have issued some songs by Herman Hans Wetzler which are worthy of extended comment. Twelve Kinderlieder are charming specimens of the infantile in music, naive childhood fancies set to naïvely simple music. Four Scottish ballads—"Bannockburn," "Killicrankie," "When I Sleep I Dream" and "The Joyful Widower"—are for baritone and prove again how happy this composer is in treating pure ballad sentiment, whether sentimental, jovial, humorous or heroic. "Bannockburn" sounds the latter note, while "Killicrankie," with its Gaelic ritornella, is a perfect epitome of Scotch feeling of the devil may care sort. In the "Five German Songs," imported by Schirmer, Mr. Wetzler is seen at his best, though his opus 1, a setting of "The Fairy Queen," must not be forgotten for its fantasy. Of this group under consideration "An die Entfernte" is set to words by Lenau. It is full of feeling and has a Brahmsian flavor. "Abendländschaft" is a beautiful pastoral mood captured and held. "Volkslied" is well named, and "Der Abend" is quite the most original of the five, though "Beherzigung," after Goethe, pushes it close with its swinging melody and broken rhythms. The thematic invention is on a par with the technical. Mr. Wetzler is to be congratulated. one of two readings
50The same publishers have issued some songs by Herman Hans Wetzler which are worthy of extended comment. Twelve Kinderlieder are charming specimens of the infantile in music, naive childhood fancies set to naïvely simple music. Four Scottish ballads—"Bannockburn," "Killiekrankie," "When I Sleep I Dream" and "The Joyful Widower"—are for baritone and prove again how happy this composer is in treating pure ballad sentiment, whether sentimental, jovial, humorous or heroic. "Bannockburn" sounds the latter note, while "Killiekrankie," with its Gaelic ritornella, is a perfect epitome of Scotch feeling of the devil may care sort. In the "Five German Songs," imported by Schirmer, Mr. Wetzler is seen at his best, though his opus 1, a setting of "The Fairy Queen," must not be forgotten for its fantasy. Of this group under consideration "An die Entfernte" is set to words by Lenau. It is full of feeling and has a Brahmsian flavor. "Abendländschaft" is a beautiful pastoral mood captured and held. "Volkslied" is well named, and "Der Abend" is quite the most original of the five, though "Beherzigung," after Goethe, pushes it close with its swinging melody and broken rhythms. The thematic invention is on a par with the technical. Mr. Wetzler is to be congratulated. one of two readings
52OLIVER DITSON COMPANY.
54This well-known house continues to publish songs of a high grade. The present list is large and will be briefly dealt with. William Arms Fisher's "Gae to Sleep" is a pretty cradle song for medium voice in C or low voice in A. Arthur Farwell is represented by six songs, of which "Thou'rt Like Unto a Flower" is the best, being simple in feeling and well made. It is for low voice. There is fresh out-of-door feeling in "Wenlock Town," for medium voice, by the same composer. "The Wandering Knight"
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