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Musical Courier 1902-05-14: Vol 44 Iss 1155, 1902
52 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1VIENNA, APRIL 20, 1902.
3PERHAPS the most interesting event of the latter part of the musical season was Massenet's visit to Vienna, not only to direct the one hundredth performance of his "Manon," but also his oratorio, "Maria Magdalena." As Massenet suffers from rheumatism in the right shoulder, it was really a sacrifice which the master brought the artists of the Opera through the fact that he studied and rehearsed for the production of "Maria Magdalena" and also directed it. It was therefore concluded that in order to avoid too great a strain he should only direct the church scene in "Manon," which took place for the pension fund of the Opera. The master, however, did not let this suffice, but wanted to do something particular for this charitable purpose. He did this in paying the conductor's place in the orchestra 500 kronen for the one act.
5"Manon" was given for the first time in the Vienna Opera on November 19, 1890. Wilhelm Jahn directed the première, and the composer, also present at that time, had to appear many times before the footlights with the chief portrayers, Miss Renard and van Dyck. Upon his arrival in Vienna this time Massenet, among others, found a telegram from Boston, from van Dyck, which ran: "Souvenirs and regrets from first Desgrieux." Massenet, who saw the "Manon" performance from the box of the French Ambassador, the Marquis de Reverseaux, was constantly the object of lively ovations. Before the beginning of the church scene Regisseur Stoll came to conduct the master from the box to the conductor's place. The members of the orchestra, who were drawn up "en espalier," as well as the audience greeted him with long drawn out applause. At the end of the act the applause was repeated and went over into untold recalls. Massenet applauded the singers as well the members of the orchestra; these clapped their appreciation and Frau Saville threw kisses to the happy composer. Then Massenet had to come onto the stage and the applause increased still more. Three wreaths were presented him: the first from the direction of the Opera, the second was sent by the ladies who had taken part at the déjeuner given by the French Ambassador in his honor the day before; the third from the first Vienna Manon, the present Countess Kinsky-Renard. Director Mahler, who was absent on his wedding trip, sent the following telegram to the master:
7"I heartily greet you, honored master, and hope that you will again feel yourself at home in this city, the scene of so many well deserved triumphs."
9Massenet gave a sealed letter to the orchestra as reply to this telegram, which was sent on to Director Mahler in St. Petersburg.
11Before he took his place to direct his oratorio, "Maria Magdalena," Massenet was surprised by the presentation by Hofrat Baron Weckdecker of the highest token of artistic merit which exists in Austria, namely the "Ehren Zeichen," for art and knowledge, from the Emperor. At the same time the members of the pension fund for whose benefit the oratorio was given presented the master with an artistically worked baton, to show their veneration and appreciation of the great musician. It was handed him by Intendant Plappart, who made a French presentation speech which was answered by Massenet with great emotion. In further conversation Baron Plappart drew the attention of the master to the special signification of the distinction conferred upon him by the Emperor, and explained to him that this order, created by Franz Josef in 1887, is the reward only of the highest and most generally recognized service in the way of art and knowledge. Before Massenet only three musicians were honored with this distinction, namely, Brahms, Verdi and Dvorák. one of two readings
12Before he took his place to direct his oratorio, "Maria Magdalena," Massenet was surprised by the presentation by Hofrath Baron Weckdecker of the highest token of artistic merit which exists in Austria, namely the "Ehren Zeichen," for art and knowledge, from the Emperor. At the same time the members of the pension fund for whose benefit the oratorio was given presented the master with an artistically worked baton, to show their veneration and appreciation of the great musician. It was handed him by Intendant Plappart, who made a French presentation speech which was answered by Massenet with great emotion. In further conversation Baron Plappart drew the attention of the master to the special signification of the distinction conferred upon him by the Emperor, and explained to him that this order, created by Franz Josef in 1887, is the reward only of the highest and most generally recognized service in the way of art and knowledge. Before Massenet only three musicians were honored with this distinction, namely, Brahms, Verdi and Dvorák. one of two readings
14Haydn's "Creation," which was considered as a sort of property by the Haydn Society and then of the "Gesellschaft der Musikfreunde," was given these days for the first time by the "Wiener Singakademie," under the direction of Mr. Lafite. The choirs were exceedingly well drilled, and sang with verve and understanding. Not as much, however, can be said of the two male soloists, Messrs. Saser and Musch, who misinterpreted Haydn's wonderful work by a lack of life and grace in this so interesting music. The redeeming point was the singing of Miss Neuroth, whose clear, sweet voice, delightful phrasing and sure taste were also much appreciated by the numerous public who were present at this concert.
16All Viennese opera goers and music lovers are sad at the loss of one of the best, if not the best, lyric tenors which the opera possessed, Franz Nadal, who sent in his resignation on account of differences with Director Mahler. These differences were created by the fact that Mahler wished Nadal to sing the part of Prince Leopold in "The Jewess," whereas Slezak, a much younger artist, was assigned the part of Eleazzar. Besides this Nadal asked for a vacation in summer, allowing him to rest or use the time to sing elsewhere, as at present he was granted only three weeks' absence. In default of the vacation he asked for 2,000 gulden increase of salary. As these conditions were not consented to by Mahler, Nadal sent in his resignation and appeared for the last time in the "Maskenball" a few days ago. He gives a farewell concert tomorrow, the 21st, in the Musik Vereins Saal. He intends now to travel extensively, going to France and probably also crossing the herring pond, in which case the Americans will have the opportunity of hearing an excellent artist.
18The big Musik Vereins Saal, in which Mascagni directed Rossini's "Stabat Mater," showed the stamp of an unusual evening. Representatives of the highest Vienna society filled the hall and one saw members of the imperial family, ladies and gentlemen of the highest aristocracy and those of the prominent bourgeoisie, besides the constant concert goers, many of whom the wish not only to hear this work, not heard in Vienna for so long a time, as well as to see Mascagni, had drawn to this concert. As for the "Stabat" itself it does not need any more critical light to be thrown upon it. One has long and willingly condoned its weaknesses through the brilliant beauties which it contains, and I distinctly prefer it to Massenet's "Maria Magdalena," which was given the evening previously. Rossini's "Stabat," although a severe ritual church composition, is much more worldly than the religious drama of Massenet, more worldly but richer in ideas and more forceful. Mascagni was most heartily received at his entrance and at the end the public showed its sympathy for the maestro by recalling him a half dozen times. He could also boast of several laurel wreaths which to take home. Italians who showed their appreciation and nationality by frantic and untiring applause also brought homage to their countryman and formed a circle of admirers in the greenroom.
20In spite of the lateness of the season, a respectably sized audience was present in the Bosendorfer Saal at the concert given by Franz Drdla, a Bohemian violinist, who gave it to secure a position as concertmeister either in Budapest or Bucharest. One thing is sure, namely, that he would have had one more staunch supporter had he not given the concert in question. The suite of Goldmark which opened the program was passably sustained by the artistic qualities of the pianist, Frau Basch-Mahler, who was worthy of a better fate in the shape and form of a violinist, but when Mr. Drdla launched into the G minor Bruch concerto with a wobbly bow and muddled technic, and when after a group of small pieces which pleased the general public he attacked Paganini's "Hexentanz," and in spite of bringing the tempo down to a very marche funèbre one heard no double stops, no harmonics, but one great muddle only interrupted by frequent stops needed to tune the rebelling violin. I thought as I left the hall with a precipitation which made me lose the numerous encores that any other position than that of concertmeister would suit Mr. Drdla's temperament and capacity much more exactly. Miss Minny Cortese, an American girl whose voice sounded rather the worse for wear in songs of Schumann and Brahms, made the hit of the evening, with Shelley's "Love's Sorrow," "Comin' Through the Rye" and "Annie Laurie," quite redeeming herself and eradicating the unfavorable impression made earlier in the evening.
22The Secession has opened its fourteenth exposition, whose interest centres around Max Klinger's "Beethoven." Since fifteen years the master has occupied himself with this work. A few days ago he finished it, after having overcome enormous technical difficulties. This work, which is composed of marble, bronze, ivory and precious stones, weighs 12,000 kilograms, and was shipped in five parts. The preparations for this exposition, with which the members of the Secession have been busy up to the last moment, were begun last summer. A special festival architecture had already been built onto the house, whose walls were decorated with big wall paintings and monumental designs by the members. The whole arrangement centres around the work of art which is to form its centre point, the Beethoven statue. Both Vienna and Leipsic are bidding for this wonderful creation, about which I shall give further details in my next article on account of lack of space in this one. The artist asks 400,000 marks, the materials alone having amounted to 150,000.
24L. D. S.
26JULIA RIVE-KING'S JUNE RECITALS.
28DURING the month of June Mme. Julie Rive-King will give four piano recitals in Warren, Pa., and one at Titusville, Pa. The distinguished pianist played at Bridgeport a fortnight ago with her usual success. Appended are paragraphs from the Bridgeport criticisms:
30MADAME RIVE-KING WELCOMED.
31Noted Pianist Entirely Captivates a Large and Fashionable Audience.
33At the Court Exchange ball room Tuesday evening Madame Rive-King, the famous pianist, entertained one of the most fashionable and musically critical audiences which have assembled in this city this season.
35Madame Rive-King, the star of the evening, is without doubt one of the world's greatest performers on the piano. She possesses a wonderful technic, a breadth of tone, a delicacy and refinement which at once stamp her as an artist of exceptional merit. She gave a most brilliant performance, and all who were present congratulated themselves that they had embraced the opportunity to hear her. The great artists of the country admit that she hardly has a superior, and her equals are exceedingly rare. She used a Knabe piano, which was expressly procured for her by Manager Fred Kessler, of the Schleicher & Sons Piano Company, and the magnificent qualities of that instrument were fully brought out by her. Especial credit is due Manager Kessler for bringing her to this city, that our music lovers might have the opportunity of hearing and enjoying the work of such a famous artist. It is promised that Madame Rive-King will again appear here next fall, when she will be heard under more propitious circumstances, in the matter of selection of a hall. If she does come, it goes without saying that there will be a crush to hear her.—Bridgeport Farmer, May 1, 1902.
37OVATION TO RIVE-KING.
38Her Masterly and Charming Performance Captivates Fine Audience.
39There was a good sized audience of our best people, musical and social, at the concert of the Associated Charities at the Court Exchange ball room last evening. Julie Rive-King, the renowned pianist, was the bright particular star which attracted the musicians.
41Regarding Madame Rive-King's playing, there was but one opinion, that she was truly a great artist, and had given a wonderful exhibition of technic, breadth, vigor, delicacy and refinement in piano playing that is rarely heard. Madame Rive-King is not a piano player only, but a musician, a genius. She feels the music and expresses it most artistically. She was several times encored and graciously responded with a classical gem each time, to the delight of the pianists present.—Bridgeport Post.
43Music Festival at Spartanburg, S. C.
45THE eighth annual South Atlantic States Music Festival, under the auspices of the Converse College Choral Society, began at Spartanburg, S. C., April 30. Brilliant and fully representative audiences heard the five concerts given at this festival, and the general verdict is that the occasion was worthy of the fame of preceding similar events.
47The program of the first consisted of concert excerpts from Händel's oratorio by the Converse Choral Society, assisted in solo parts by artists specially engaged for this festival.
49The solo parts in the oratorio were sung by Miss Spencer, Miss Bradbury, Mr. Hall, tenor, and Mr. Miles, baritone.
51At the afternoon concert on the second day the special attractions were the instrumental soloists. Gounod's "Faust" was given in the evening, the soloists being Miss Rio, Miss Spencer, Messrs. Chais, Martin and Hall. Probably no such music of the kind was ever heard in South Carolina before. At the closing concert Mr. Bispham was the principal soloist, and the eighth annual festival closed with satisfaction to all concerned.
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