Scan 19
Musical Courier 1903-07-15: Vol 47 Iss 1216, 1903
44 lines. Read by computer on 26 September 2026. Printed page 18. See the scan on archive.org.
1sky and mountains, or whatever it may be, and moving very slowly or not at all.
3It will thus be possible to show clearly Siegfried's trip down the Rhine, a scene that has hitherto been merely indicated by the music in the orchestra.
5An entire new electrical equipment is being installed, and the best lighting effects will be obtained. They will be controlled by a man at a $20,000 switchboard beside the prompter's desk on the front part of the stage. Hitherto the lighting effects were controlled from the wings, and it was necessary to signal from the prompter's box.
7Another improvement will be the enlargement of the orchestra pit by almost half, to accommodate 120 men, instead of sixty-five or seventy, as at present. To do this a few feet have been taken from the front part of the stage.
9All this sounds most promising, and we hope that it is not too good to be true.
11EUROPEAN NOTES.
13PADEREWSKI has composed a grand choral work for mixed voices, which he entitles "Feierliche Kantate."
15The Conservatory of Geneva lately gave under the direction of Jacques-Dalaroze a performance of Rameau's "Hippolyte et Avicie." The recitations, airs, duets, &c., are antiquated, but the choruses were very effective and interesting.
17Solo flute players of importance are rare. Among the most famous in Europe is Ernst Kohler, of the Imperial Orchestra of St. Petersburg. He lately gave a concert at Modena with orchestra, the program consisting chiefly of his own compositions, and the chief attraction his solo performances.
19A lady, Aura Caravaglios, lectured at Bologna on the theme "Leopardi and Chopin." She illustrated her discourse by performances on the piano. The Berceuse of the latter was one of the pieces given, and may have been appropriate, but the reports of the lecture do not tell us of the connection of compositions of Mendelssohn and Schubert with Leopardi, or what light they threw on the great pessimist.
21Under the title of "Unionprotectrice des Enfants des Arts" a philanthropic organization has been formed in Paris. This Protective Union devotes its attention to the needy pupils of the National Conservatory of Music. Its president is Theobald Dubois, director of the Conservatory, and the list of members contains the names of Reyer, Diemer, Widor, De Beriot, Halevy, Guilmant, Messager and others. It offers a "bourse" of 600 francs for each branch of study, singing, piano, violin, violoncello, viola, harp, flute and solfeggi.
23The Allgemeine Musik Zeitung publishes a facsimile (except the colors) of the old canon "Somer is i cumen in." The author of the accompanying article adopts the view that it was written down in Reading Abbey about 1240, but he thinks that it was not by the poet monk John Fornset, but is an air picked up among the peasants by a young student, who then wrote the words in the solitude of his cell. He bases his conclusion on the naive character of the melody, the sunny pastoral tone of the whole, and the fresh simplicity of the words.
25Remmertz Died a Wealthy Man.
27IT has come to light that the late Franz Remmertz left a snug fortune, principally to his widow. A morning paper stated yesterday that the singer bought stock in the Standard Oil Company at a time when it sold at a low figure, and as it increased in value Remmertz became wealthy. Ex-Comptroller Ashbel P. Fitch, an old friend of the artist, is appointed executor of the estate. Remmertz died in Switzerland last month after an operation for kidney disorders.
29COMMENTING on the intended visit to this country of Richard Strauss and his wife, Henry T. Finck says in the New York Evening Post of last Saturday: "Richard Strauss is by no means the first composer who is so lucky as to have a wife who can do missionary work for him—Schumann's bride and wife first made the European public familiar with his works for the piano, at a time when they were caviare to the other pianists as well as to the public. Grieg's wife was for years the best interpreter of his songs, and even now when she no longer appears in public it is an incomparable treat to hear her sing while he plays the piano part of his songs. One of the most interesting features of our next concert season will be the singing by Frau Strauss of some of her husband's songs, and it is to be hoped that he will be at the piano."
31It has been already arranged that Strauss will preside at the piano during his wife's song recitals here. The great Richard is an incomparable accompanist, and much as he sometimes likes to make noise with his orchestra, at the piano he is discretion itself. Although he disclaims all title to being a pianist, Strauss possesses nimble fingers and plays some of his most difficult song accompaniments much better than they have ever been done at the Berlin concerts by Bos or Bake, the crack accompanists. In chamber music, too, the composer of "Heldenleben" has few peers at the piano. Strauss' stage demeanor is simple and modest. He does not attitudinize, and his gestures and poses are as unaffected as his readings of his own and other scores. At Madame Strauss' song recitals, with fine tact the composer generally manages to deflect the applause from himself to the singer. It is only after insistent urging that he consents to rise and bow—sometimes not until after Madame Strauss has refused to accept the tribute meant for the music. Strauss himself rarely displays emotion of any kind on the stage. He looks indifferent, and at times even bored. However, he is far from phlegmatic when he wields the baton. His beat is firm and vital. He indicates accents with his whole body. In a climax he reserves nothing. As a leader Strauss has neither the polish of Nikisch nor the precision of Richter, but he far outstrips them both—and all other conductors—in the force of his personality and the power of his imagination. You will not so soon forget Strauss' leading next winter of his "Also Sprach Zarathustra." The opening, the dance music and the fugue will be a revelation. If Strauss does not stir you then, ask your doctor for a prescription in proper proportion of beef, iron, wine and red pepper—or give up your vocation as a professional music critic.
33Hermann Hans Wetzler comes out from Germany long enough to go to London, and from there to send word to this country regarding the Wetzler-Strauss plans in New York for next season. There will be a "Strauss Festival" here, similar to that recently held in London. The programs will be devoted exclusively to the Strauss orchestral works. At each concert the composer will conduct two of his symphonic poems, and Mr. Wetzler will conduct one. The fifth and last concert of the regular Wetzler series will mark the opening of the Strauss cycle. This is a distinct advantage for the Wetzler subscribers, and one of which they should not be slow to avail themselves. Madame Strauss will appear at all the four concerts of the festival.
35The soloist for the first Wetzler concert, on October 30, will be Jacques Thibaud. He should create a sensation. Two years ago, in Berlin, he was the rage of the hour. His technic is vast—though not showy—and his tone is of the quality that women love. Withal, Thibaud is young, good looking and unspoiled. If he is not the chief success of next season then this writer will never again venture a musical prognostication.
37And when in this column "the season" is spoken of, not New York alone is meant. Our metropolitan reviewers have a pleasant habit of crowding all musical America within the confines of their own town. New York is not the most important place on the musical map of America. Managers and artists do not make their money here. It is the verdict of the country at large that tells. A failure in New York by no means spells failure anywhere else. A subsequent success in Boston insures good engagements in the New England towns; a good impression in Chicago opens up all the musical clubs west of Buffalo and east of Kansas City, and the approbation of San Francisco means an artistic passport from Seattle to San Luis Obispo.
39Some New Yorkers might not believe the foregoing, but a three months' residence in the West would prove the proposition thoroughly. Certain artists "failed" here last winter, and were thereafter advertised throughout the West as "New York successes." Nobody knew the difference—and nobody cared. To use an expressive bit of theatrical jargon, an artist must "make good" in the West, and only on that condition may he hope for return dates. A New York success or failure is of no importance 100 miles from here. And this is as it should be, for the spoils of war are divided into many parts and within reach of us all. Self eclipse is one of the first steps toward self improvement.
41Alexander Lambert is pardonably proud of the large audiences that attend the public recitals of his pupils. "The hall was crowded to overflowing," he said last week, referring to the two closing concerts of his college. A listener remarked with reason: "But, Mr. Lambert, you must remember that you give away all the tickets for your concerts. Why should they not be crowded?" With a smile slightly sardonic, Lambert turned on the questioner and replied: "I could name several recital pianists from abroad who played here last winter and gave away all their tickets. Why were their concerts not crowded?" Nobody seemed to have an answer ready.
43It is this ability to make the most of a situation, and to do it quickly, that has materially helped Alex-
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