Scan 27
Musical Courier 1903-08-26: Vol 47 Iss 1222, 1903
65 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.
1MUSIC IN HOLLAND.
3THE HAGUE, AUGUST, 1903.
5THERE are new plans for an Italian opera here. The Parkschouwburg at Amsterdam would be the seat of it, but only after being repaired, for such as it is, having been deserted for so many years, it is quite unfit and even dangerous. As yet the council of Amsterdam has not decided anything in the matter.
7Now and then the two Dutch operas that are being formed at Amsterdam remind us of that interesting fact by sending short notices to the press. Both companies are almost complete. The Stadtshouwburg Opera will start first, September 1, with "Herodiade." The rival company, which has its seat in the Paleis von Volkslyt, begins a fortnight later. The direction of the first named opera has engaged Elmblad, well known at Bayreuth and at New York too, to direct the stage proceedings. The first novelty will be "Manru," the Polish opera of Paderewski. one of two readings
8Now and then the two Dutch operas that are being formed at Amsterdam remind us of that interesting fact by sending short notices to the press. Both companies are almost complete. The Stadtschouwburg Opera will start first, September 1, with "Herodiade." The rival company, which has its seat in the Paleis von Volkslyt, begins a fortnight later. The direction of the first named opera has engaged Elmblad, well known at Bayreuth and at New York too, to direct the stage proceedings. The first novelty will be "Manru," the Polish opera of Paderewski. one of two readings
10Of the opera world there is further to be stated that the jury for the competition for a Dutch opera libretto, opened by the Dutch Opera Society, has out of thirty poems allotted a second prize to the author of "De Vrouwe van Stavoren" ("The Lady of Stavoren"), in which an old legend is treated with great talent. If the author, who gave as his name W. Engels, of Arnhem, would consent to some modifications, his work might become a first class one, likely to inspire our composers.
12At Scheveningen the Philharmonic Orchestra from Berlin continues to fulfill its annual vocation to perfection. Though not yet restored to health Mr. Rebicek, who conducts sitting, is always up to the mark. He gave us an interesting novelty, the first part ("Inferno") of Liszt's "Dante," a splendid piece of "Tonmalerei," splendidly performed. The love scene from Strauss' opera "Feuersnot" failed to gain the favor of the public, as is generally the case with fragments of unknown operas in the concert room. Two very young and very clever pianists, Arthur Schnabel, from Berlin, and Egon Petri, from Dresden, were warmly received, though both had chosen concertos that appealed more to the connoisseurs than to the majority of the public—the Second Concerto of Brahms and Liszt's Concerto in A major. Let me mention a performance of rare excellence of Mendelssohn's Concerto by Anton Wittek, who once more proved to be one of the greatest among living violinists.
14Four ladies and four gentlemen, pupils of Arnold Spoel, the singing teacher of our conservatorium, are to undertake in this month a trip through Belgium and Holland. They begin with Brussels, Antwerp and Ostende, to end perhaps with Flushing and Scheveningen.
16Mr. Viotta announces Sunday concerts for the next season, with an orchestra consisting of musicians of The Hague only. The reader is aware Mr. Viotta cherishes still fondly the idea of a special Hague orchestra. Of course the thing is to be done, if Iago's precept is followed: "Put money in your purse." A good orchestra costs a heap. Just now there was unfavorable news about the orchestra of Utrecht, under the direction of that excellent chief, Wouter Kutschenruyter. And it is well known that the orchestra of Arnhem is since long struggling for life. It is perhaps easier to start a new orchestra than to keep it up.
18Dr. J. de Jong.
20SOME NEW YORK "CRITICS."
22THE following "Letter to the Editor" was printed in a New York daily last week:
24SIR—Your editorial in Saturday's issue must, it seems to me, meet the approval of every music lover. But it is high time, also, to point out that much of the existing confusion in orchestral matters is due to the attitude of our local musical critics. It is not so many years ago that the iron rule of a German soprano in combination with a German conductor, since deceased, at the Metropolitan Opera House, nearly disrupted the entire organization, and I do not recall a single critic who had the courage to speak out. Was it not an open secret that an alleged cabal among the critics resulted in the retirement of Theodore Thomas * * * and the booming of Anton Seidl, with the result that the Philharmonic Society's receipts reached a point which they have not since touched. All this though ever critic was well aware that as a symphonic conductor Herr Seidl was lacking in essential qualifications. I ask you to consider the attitude of New York's musical critics toward Mr. Wetzler last season. His concerts began too late, his programs were too long, and one program was so vigorously denounced in advance by one of our most respected critics as "preposterous" that it was withdrawn, although it was to have offered but three compositions, and these by Liszt, Strauss, and Berlioz. Mr. Wetzler had succeeded in getting ample financial backing, which enabled him to have adequate preliminary rehearsals, but in place of having the moral support of our critics, his performances were treated with scant courtesy.
26It is not pleasant to have to say these things, but much more could be said. Musical politics go deep, and it is not easy to determine their sources. The greatest conductors of today have had to grow into their positions and there is enough talent in America for us to put by hero worship for a time and develop our own conductors, even as Mr. Thomas was developed. Hard knocks and severe criticism are part of this training, but by all means let us have the criticism, not generalities about the programs, the time of the concert, &c., and nothing as to the conducting or the performance.
28C. A. H.
30On August 11 another writer wrote to the same paper, as follows:
32"I am so heartily in sympathy with the views expressed by your correspondent C. A. H. in yesterday's issue that I cannot refrain from pointing out what is, I think, a slight error therein, and it is a point on which the whole matter hangs. I understand, of course, that C. A. H. meant to be courteous in referring to 'our local musical critics,' but is not such a waste of courtesy a mistake? I mention this because on one occasion, talking to a well known musical man in this city, I used the same expression—'musical critics.'
34"You are mistaken,' said my friend: 'what you mean is "music critics."'
36"The force of this will readily be recognized by those who have some knowledge of music, as well as some taste, and who have read with astonishment and disgust so supposed 'critiques' of concerts which they have attended. The lamentable ignorance, despicable spleen and cowardly unfairness commonly displayed by some of the enlighteners of the public are the despair of true musicians, alike of those who are dependent upon public support and those who do not need it. * * *"
38With all of the above we agree except in one point. C. A. H. says: "Musical politics go deep, and it is not easy to determine their sources." It is very easy to determine the sources of musical politics in this city, and both the "sources" and the politicians have been repeatedly pointed out by THE MUSICAL COURIER. For information on this subject C. A. H. will have but to watch the future issues of our paper.
40The National Conservatory of Music.
42THE annual entrance examinations at the National Conservatory of Music, 128 East Seventeenth street, have been fixed for the following dates:
44Piano and Organ—September 15 (Tuesday), 10 a. m. to 12 m., 2 to 4 p. m.
46Singing—September 16 (Wednesday), 10 a. m. to 12 m., 2 to 4 p. m., 8 to 9 p. m.
48Violin, viola, 'cello, contrabass, harp and all other orchestral instruments—September 17 (Thursday), 10 a. m. to 12 m., 2 to 4 p. m.
50Children's Day—September 19 (Saturday), piano and violin, 10 a. m. to 12 m.
52All members of the faculty will attend these examinations and Mrs. Jeannette M. Thurber, the president and founder of the conservatory, will personally receive all applicants and their parents and guardians.
54As the musical world is aware, Rafael Joseffy and Miss Adele Margulies are the head instructors in the piano department. Leopold Lichtenberg is the first teacher of the violin and Leo Schulz the first teacher of the 'cello. Eugene Dufriche and Irénée Bergé jointly conduct the classes in the vocal department. Henry T. Finck has been re-engaged as the musical historian and Max Spicker will again be in charge of the classes in harmony. Charles Heinroth is the first teacher of the organ classes. These names constitute an artistic faculty that must appeal to students everywhere. The assistant teachers are also men and women of more than local reputation.
56Max Decsi Returns.
58MAX DECSI and Mrs. Decsi have returned to the city after a two months' rest on Long Island, and Mr. Decsi has leased additional quarters in Carnegie Hall to accommodate his increased duties as teacher of leading lights of the vocal world. Demand for his instruction became so insistent that he was obliged to curtail his vacation period.
60Sibyl Sammis, the brilliant concert soprano, one of Mr. Decsi's leading pupils, is to be married to Dr. Beck, a well known physician.
62Miss Alice Crane Home Again.
64MISS ALICE E. CRANE, a pianist who has been mentioned in THE MUSICAL COURIER from time to time, returned from her studies abroad ten days ago. In Europe Miss Crane studied under Felix Dreyshock, of Berlin; Madame Stepanoff, of Vienna, and Arthur de Greef, of Brussels. After a rest at her home in Garrettsville, Ohio, Miss Crane will appear in several cities as a concert pianist.
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