Scan 14
Musical Courier 1903-02-04: Vol 46 Iss 1193, 1903
63 lines. Read by computer on 22 September 2026. Printed page 15. See the scan on archive.org.
1as it were, the work he directs, and guide his musicians to the fullest extent with both hand and voice."
3At the same concert the performance of "The Battle of the Huns," by Liszt, provoked signs of disapproval. Not that the work was not superbly rendered by the orchestra, which played with great fire and brilliance (although the harmonium in the Gregorian chant might have been a little nearer the pitch of the other instruments), but the work itself did not please some discontented ones aloft. Hence cries of "Music for savages" and hisses. Perhaps it was this demonstration that caused Marteau, the violinist, not to play his best in the Beethoven concerto, although the slow movement evoked much applause. Three selections from Schumann's "Manfred" music and the overture to Berlioz's "Carneval Romain" finished the concert.
5The usual Colonne concert was not given last Sunday, as the conductor and his orchestra were engaged for several concerts of French music in Spain and Portugal.
7At the Association des Grands Concerts, the one devoted principally to the works of Leoncavallo and directed by himself had not much success, the excerpts from "Bohème," &c., not making the effect in the concert room that they do in their proper place—the theatre. The concert of last week, which was to have consisted principally of works by Reynaldo Hahn, conducted by the composer, had to submit to material changes owing to the illness of M. Hahn.
9A concerto for piano and orchestra by Massenet—his first effort for piano in this form—will shortly be performed by M. Louis Diémer, for whom it was composed and to whom it is dedicated by the composer.
11At present many distinguished persons seem anxious to make a name for themselves in the world of art. I see that the opera at Brussels—Théâtre de la Monnaie—will produce this season a new ballet which cannot fail to arouse a certain amount of curiosity, as it is written—scenario and music, both—by no less an exalted individual than Prince Joachim Albrecht of Prussia. Kafferath and Guidé, the directors of La Monnaie, are counting much on the production of this novelty. The title of the work is "The Miracle of Spring."
13At the Opéra the performance of "Les Paillasses" continue with the ordinary works of the repertory. It is likely, however, that Leoncavallo's work will shortly be withdrawn, not proving a success. That "Paillasses" would prove anything more permanent than a success of curiosity I never expected. The whole character of the work is foreign to the vast frame in which it is placed at the Opéra. Although its tragic character and passionate, intense style gives the thrill that seems the great desideratum at present, still public interest has abated, and I think the work will shortly be withdrawn. It has recently been given in conjunction with "Samson and Delila," the ballet of "Bacchus," which had been a very long time in preparation, and of which great things were expected, having failed to realize all that was hoped for it. "La Statue," by Reyer, is in active rehearsal, and Jean de Reszké is studying Sigurd, and will shortly resume the role of Siegfried, which he created here.
15André Messager, one of the conductors of the Paris Opéra Comique, and last year one of the directors of Covent Garden, London, has just sent the following letter to the Figaro, apropos of a rumor that was abroad as to various light operas of his which were said to be scheduled for production at Covent Garden Theatre next season: "The note that you were good enough to publish in the Figaro of this morning on the subject of the production of 'Veronique' in London might cause people to imagine that it would be given at Covent Garden. It is not so, and in spite of the good opinion that I might have of my own work, it is not with that view that I and my friend, Mr. Higgins, will direct the season at Covent Garden. The real facts are that we have closed a contract with Mr. Saunders, manager of the Coronet Theatre, London, for a series of performances of 'Veronique' in French during May next. As for Covent Garden, we shall open our season this year with the 'Nibelungen Ring' (which is scarcely the same style as 'Veronique'). We shall give April 27, May 4 and 12 three of the Tetralogy complete, without cuts and with the best Wagnerian performers, among them Mesdames Ternina, Gulbranson, Kirkby-Lunn and Metzger, Messrs. Van Dyck, Krauss, Van Rooy, Klopfner, Demuth and Liebau. During the series the orchestra will be conducted by Dr. Hans Richter. During the course of the season we count on producing 'Louise' (Charpentier) and perhaps 'La Carmélite' (Hahn) as novelties, but still these are as yet only projects."
17The manner and style of living followed by artists, literary men, &c., all those who used years ago to be termed Bohemians, have changed entirely since Henry Murger painted them so graphically in his "Scènes de la Vie de Bohème." Your poet, musician, painter is an extremely solid and respectable person nowadays, although I do not know that he is so interesting or picturesque, and artistic Bohemia a highly proper locality in which rents are very high. Actors are to be found officiating on school board committees, to be seen frequently at fashionable churches; in fact, piety is at present, I notice, rather à la mode with people connected with stage life. It is really curious, for instance, to watch two of the principal solo dancers at the Opéra, who appear in the ballet of "Bacchus." These performers, habited as Hindoo priestesses, never fail to cross themselves devoutly, while at the wings, just before they come before the public and execute their terpsichorean variations. Without such act of faith they believe success would be impossible.
19At the Théâtre de la Monnaie was produced a few days ago a new opera, words and music by Vincent d'Indy, called "The Stranger." The author, following the example of those who invent every day a new word to explain the style of their musical work—the title "opera" being altogether too old fashioned—styles his piece "musical action ("action musicale") in two acts. As the production of a new work by this composer is an event of some importance, a large number of musicians and critics went from Paris to Brussels to witness the first performance. D'Harcourt, who was present, says: "Vincent d'Indy is unquestionably the master who has in these latter years exercised the most influence over the younger generation of composers. This influence may be differently appreciated, but it is undoubted that it is very considerable. The greater part of those who compose serious music ranged themselves at a certain epoch under his banner." As Brussels was the first to produce d'Indy's opera of "Fervaal" before it was given in Paris at the Opéra Comique, the composer to show his gratitude offered to the same city the first production of "The Stranger." It appears that there is some similarity between the subject of the book and that of "The Flying Dutchman," by Wagner, the sacrifice of a young enthusiastic maiden being necessary, in both operas, for the salvation of the central figure, in each case under a ban. The music is very highly spoken of, although it is said there are some pages that drag, themes of which the development is at times both tedious and obscure. The singers are praised, particularly Henry Albers, the baritone, who sings the principal role. The orchestra did not keep up its reputation; at one time the orchestra at La Monnaie was famous, and the mise-en-scène rather poor. The composer was warmly received; three recalls after the first act, four after the second. DE VALMOUR.
21The National Conservatory of Music.
23THE January concert by students from the National Conservatory of Music was given Tuesday night of last week at the Assembly Hall, 109 East Twenty-second street. The following program was enjoyed by a large audience:
25Trio, D minor, first movement………………………………………Mendelssohn
26Masters Greenberg and Casper, Miss Gurowitch.
27Piano solo, Barcarolle, F minor………………………………………Rubinstein
28Master William Axt.
29Air, Lascia ch'io pianga, from Rinaldo……………………………Handel
30Miss Edith Arnole.
31Violin solo, Fantaisie Caprice………………………………………Vieuxtemps
32Jaroslaw Nowak.
33Piano solo, Ballade, A flat…………………………………………..Chopin
34Miss Florie Gerrits.
35Aria, Che faro, from Orpheus………………………………………Gluck
36Mrs. Jeanette Hughman.
37Duetting, for two violins…………………………………………….Godard
38Minuet.
39Sérénade.
40Masters Casper and Garagusi.
41Concerto, G minor…………………………………………………….Mendelssohn
42Miss Katherine Jaggi.
44Viewed from the musical side there was much to commend in the performances of the four children, Master Casper, Master Garagusi, Master Greenberg and little Miss Gurowitch, and technically their work was amazing. Miss Gerrits and Miss Jaggi are young women, and their playing, too, denotes the best schooling. Mr. Nowak is a young man, probably not more than eighteen, and he was another to reflect credit on his teacher and the conservatory. The vocalists of the evening, Miss Arnole and Mrs. Hughman, are both endowed with good voices, one a mezzo and the other a contralto, and by their singing gave additional pleasure.
46Louis Diamond, a student at the conservatory, performed the orchestral parts for the Mendelssohn Concerto at a second piano. Miss Schluter and Mr. Bergé, members of the faculty, were the accompanists. The next concert will be given Tuesday evening, February 24.
48Korthauer Piano Recital.
50AT his recital in Mendelssohn Hall, tomorrow night (Thursday), Hermann O. C. Korthauer, the pianist, will be assisted by Miss Sarah Lavin, soprano. The program will be:
51Prelude, Fugue and Allegro………………………………………Bach
52Sonata, op. 109…………………………………………………….Beethoven
53Die Allmacht………………………………………………………Schubert
54Impromptu, op. 90, No. 4………………………………………Schubert
55Fantaisie, op. 49…………………………………………………..Chopin
56Three Mazurkas……………………………………………………Chopin
57Prelude, D flat…………………………………………………….Chopin
58Scherzo, op. 38…………………………………………………….Chopin
59The Lute………………………………………………………..Korthauer
60Polonaise in E…………………………………………………….Liszt
61Love Song………………………………………………………..Korthauer
62Rhapsodie Hongroise, No. 1………………………………………Liszt
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