Scan 18
Musical Courier 1904-06-29: Vol 48 Iss 1266, 1904
64 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.
1TENOR AND BASS TUBAS.
2Lud. Ehrhardt………………………………………Hannover
3Heinr. Kellner…………………………………….Hannover
4Emil Kloptel………………………………………Hannover
5Richard Unger…………………………………….Hannover
7TRUMPETS.
8Alfred Matthes…………………………………….Berlin
9E. Neupert…………………………………………Schwerin
10Carl Pfeifer…………………………………………Karlsruhe
11Gustav Weissenborn……………………………Karlsruhe
13BASS TRUMPET.
14Berthold Richter………………………………….Braunschweig
16TROMBONES.
17Wilhelm Howig……………………………………Karlsruhe
18Franz Reich………………………………………..Karlsruhe
19Paul Schmidt………………………………………Dessau
20Richard Sempf…………………………………….Karlsruhe
21Paul Weschke……………………………………..Berlin
23BASS TROMBONE.
24Paul Burkhardt…………………………………….Berlin
26DOUBLE BASS TUBA.
27Emil Hartmann……………………………………Wien
29HARPS.
30Julius Foth…………………………………………Breslau
31Carl Frankenberger……………………………Weimar
32Alfred Holy………………………………………..Wien
33Otto Mosshammer……………………………Budapest
34Roman Mosshammer………………………..Budapest
35Heinrich Ohme……………………………………Moskau
36Johannes Snoer……………………………………Leipsic
38TYMANIIS. one of two readings
39TYMPLANS. one of two readings
40Wladislaw Haase………………………………..Weimar
41Richard Klebe…………………………………….Karlsruhe
42Wilhelm Omnus…………………………………Darmstadt
43Hans Schnellar……………………………………Wien
45IT is a matter of congratulation that the relations between Germany and the United States have during the last few decades grown appreciably closer and kindlier. German caricaturists no longer depict all our citizens as backwoodsmen with moccasins and feathers, while our own humorists have ceased to describe the inhabitants of the fatherland as beer sucking patriarchs perpetually occupied with gigantic steins and elongated pipes. Americans have for a long time been frequenters of German universities, and have become sincere students of German art and eager travelers through the picturesque landscapes of Germany, so full of historical reminiscences. In politics, in trade, in art, the two countries now understand each other better and, instead of posing as hostile rivals, are become co-workers in the progress of the world and mutually helpful in the good work. Without undervaluing the reconciling influences of an interchange of science and literature, it is timely to note that one of the most influential bonds between the two lands has been spun by music. Germany's position as the "land of the masters of music" is fixed perhaps forever, and the new generation of Americans, with its love for music and its desire to attain excellence in whatever it undertakes, has turned for guidance and help to the great German school of music. The Americans have learned their lessons under German teachers and still show themselves profoundly influenced by the musical atmosphere which surrounds life in the centres of German science and art.
47The foregoing reflections were aroused by a reading of an article in the Berlin Deutsche Militär-Musiker Zeitung (Journal for German Military Musicians), which is interesting to us personally, but deserves reproduction also for less selfish reasons. It is a significant proof of how the attitude of the German press has changed toward America and things American. The German paper says:
49Thoughts of the artistic entente cordiale between Germany and the United States come involuntarily as we recall a "musical reception" given April 19 by the new Berlin representative of the great New York Musical Courier, the most read and most important musical journal in the United States. This gentleman, Arthur M. Abell, is a very acceptable and very impressive artistic intermediary between "here" and "there." A word of his influential recommendation opens to his countrymen as well as to the Germans the hearts of American managers and impresarii. He himself is an eminent violin virtuoso, of winning personal amiability, courteous and hospitable. He speaks three languages, English, French and German, with fluency and without accent. For a quarter of a year he has filled this new and important position, and at the end of the season he introduced himself to the American colony and the musicians of Berlin by a "musical 5 o'clock tea." It was well attended by persons of distinguished names, who knew how to make music corresponding to such names. In addition to the well known singer Mrs. Norwood, there were the pianists Schnabel, Meyer-Mahr, Dimond, Celeste Chop-Groenevelt and Miss Minnie Coons (both of New Orleans), the violinists Willy Burmester and the young Maximilian Pilzer, the incomparable 'cellist Anton Hekking, the admirable fagotte virtuoso Professor Krueger-Nystedt, the celebrated cornet virtuoso Paris Chambers, and others. The assembly soon became lively, for no one sooner than the artist breaks through stiff and formal conventions. Animated conversation, exchange of ideas and experiences were only interrupted when one of those present gave some select specimen of his art. However much one may have heard, we can never be safe from surprises, and anything new is especially charming when it reveals a personality. Mr. Dimond, a talented pupil of Josefey, played Chopin with verve and with remarkable technical sureness. Mr. Chambers, who is prized as a dazzling virtuoso on the cornet, earned admiration by his beautiful cantiene and his bravura handling of his instrument (on which he reaches five and one-half octaves). Something quite out of the ordinary was Professor Krueger's performance on the fagotte of a Weber concerto with humorous variations. He handles his instrument with marvelous lightness; passage work, trills, staccati came from him so naturally that one seemed to be listening not to the clumsy orchestral bassoon, but rather to a quite new wind instrument that could play independently as a soloist, and give a cantiene of wonderful fullness and euphony. The gifted young American violinist, Maximilian Pilzer, a lad of fourteen, will soon have much said of him. The virtuosity of his play has not been developed at the cost of musical intelligence and depth. This was shown in Schumann's "Traumerei" and the song parts in Sarasate's "Gypsy Airs." Everyone left Mr. Abell's house not only with the impression of charming hospitality but also with much food for thought. A little Weimar in the city of millions!
51We cannot lay aside the paper from which we have translated the above without expressing our astonishment at the paper itself. Here it is, an eight page weekly, devoted to the interests of the army and navy, with long professional articles on "Military Music" and "Contributions to the Understanding of Richard Wagner," a long article on "Parsifal," lists of concerts by regimental bands and general news. Here is one of the programs, given in a tiny town named Celle: Fourth symphony concert of the band of the Second Hanover Infantry Regiment, No. 77—Tschaikowsky, "Symphonie Pathétique"; Weber, concerto in F minor for piano, with orchestral accompaniment; Humperdinck, "Dornroschen" overture; Schumann, piano concerto, A minor; Weber, overture to "Der Freischutz." We might take a lesson from Germany in regard to our own military bands, whose concert programs will not stand very critical examination.
53THE eight concerts of the Vienna Philharmonic Orchestra will not be divided next season between Von Schuch and Mottl, as planned at the recent annual meeting of the organization. In due form the offer to conduct four of its concerts had been forwarded to Von Schuch by the Vienna Philharmonikers, but the Dresden conductor now makes reply that his duties at the Royal Opera will prevent his acceptance of outside engagements. His letter of regret is exceedingly polite and very flattering to the Vienna players. Has the engagement of Mottl anything to do with Von Schuch's withdrawal? The stolid Felix is an adept in the gentle art of making enemies, and his presence anywhere is generally the signal for a mighty stirring of the local musical pool. Mottl has left trouble in his wake wherever he has been engaged recently—in Karlsruhe, New York, Brussels, Munich, and now Vienna. Perhaps all this is merely a coincidence. The Vienna Philharmonic will not be seriously inconvenienced by Von Schuch's defection, for first class conductors are plentiful in Europe, and they have all now formed the habit of going a-starring in the most approved prima donna style.
55MORAL heroes are nearly as admirable as the brave fellows who risk their lives to save others. The other day the Brooklyn Saengerbund gave an excursion to Silver Lake, and besides some fine choral singing there was a "beauty contest" for women. August von Hasseler of the committee had arranged this as one of the diversions for the day. As prizes the judges provided a huge case of fine candy and an immense basket filled with roses. When it was learned that ninety fair daughters and wives of the Saengerbund members had entered the competition the judges fled to the woods, leaving the gallant Hasseler alone to decide on the merits of the four score and ten claimants to good looks.
57"You are all beautiful," exclaimed the wary Von Hasseler, and after removing his hat in the most chivalric fashion the hero of the occasion presented each lady with a flower and some of the candy.
59THE official annual report of the Royal Opera in Berlin shows that during the past year the institution produced 312 operas and operettas, and forty ballets. Five operas had their premieres at Berlin. New York had five new operas, too. They were—"Trovatore," "Lohengrin," "Rigoletto," "Faust" and "Tannhäuser."
61During the past season in Stettin two professors of the conservatory, Bruno Kletsch and Rudolph Melzer, gave a series of concerts illustrating "the historical development of the violin sonata from its beginning to the present day." The programs included works by Hiber (1644-1704), Corelli (1653-1713), dall'Abaco (1675-1742), J. S. Bach (1685-1750), Handel (1685-1759), Tartini (1691-1776), Leclair (1687-1764), Nardini (1722-1793), Haydn (1732-1809), Mozart (1756-1791), Beethoven (1770-1827), Schumann (1810-1856), Gade (1817-1890), Brahms (1833-1897), Franck (1822-1890), Sinding (1856), Reger 1873-——).
63Hermann Bauerle, of Regensburg, is transposing the four voiced Masses of Palestrina into modern musical notation in order to make them available for general use. Bauerle already has published ten of these works, and is about to finish a volume of fifty-two Latin songs by Palestrina.
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