Scan 5
Musical Courier 1905-09-06: Vol 51 Iss 1328, 1905
62 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.
1sign so perfectly that the striking composition fell on the listener's ear with affecting reality. * * * In conclusion came the "Tannhäuser" overture in a simply peerless rendering. Herr Frischen, who directed this work from memory, as well as the Beethoven, and his brave band of artists with him, may proudly look back upon this concert in the consciousness of having made it an evening artistically matchless."
3Ernst von Possart, of whose resignation from the intendantship of the Munich Opera and Playhouse I wrote some time ago, has firmly decided to bid farewell to the boards. On September 28 or 29 he will appear in drama for the last time, acting in one of his favorite roles, and his official superintendence of Munich theatrical affairs will have been given up some days before his final appearance. Possart will then make a recitation tour through Germany, and about April 1 of next year he intends to open in Munich a "Possart School" of German pronunciation, elocution, and everything that pertains to the study of the dramatic art. He also is making arrangements with a Berlin publishing house to print his "Memoirs," a book which will treat of the history of the Munich Theatre under Ludwig II and the prince regent, Luitpold.
5The rumor that Possart was to accompany Conried to America is false. Conried is said to have made tempting offers to Possart, promising him the directorship of the Irving Place Theatre for three seasons, the performance of his favorite roles, the scenic direction of some of the great Metropolitan operas, and a quarter of a million marks, exclusive of traveling and residence expenses, if he would come to America. As Possart has made up his mind to keep clear of the boards in the future, however, he could not accept the offer.
7The latest news in the way of dramatic legal strife is some rather serious trouble over the text rights to the Oberammergau "Passion Play." It seems that the congregation of St. Joseph's Church at Nancy, viewing with desire the fame and material benefit accruing to the people of Oberammergau from the presentations of their famous "Passion Play," wished to imitate their example and produce a similar drama of their own. To this end their pastor, Herr Petit, procured from the prelate of the little Tyrol village permission to adapt to his uses the Oberammergau drama, especially the Passion text. On learning of this gross misappropriation of their cherished common property and traditions the good people of Oberammergau are justly incensed at the prelate, and have at once set the machinery of the law in motion to vindicate the inalienable right of the parish to its individual Passion text. A Munich advocate has been entrusted with the prosecution of the case, and if it can be proven that the prelate really transferred to Pfarrer Petit the rights of adapting the "Passion Play," it will doubtless go hard with him, for in the sacred town secular feeling is running very high.
9Paris, meanwhile, is the scene of another lawsuit, of no less interest to musicians than that of Oberammergau is to the world at large. The Paris case is that of André Maurel and Mme. Raimund against the widow of Johann Strauss, and the damages claimed by the complainants are a half share in the net profits from the performance of "Die Fledermaus" in France, and 30,000 francs indemnity. Maurel and Mme. Raimund are the heirs of a man named Wilder, who in 1875, on commission from Johann Strauss, translated the text of the "Fledermaus," preparatory to its performance in France. Owing to the protest of Meilhac & Halévy, the firm which had loaned the libretto, the performance of the opera in its original state could not then take place in Paris. Wilder, therefore, wrote a new libretto adaptable to the music of the "Fledermaus," and under the title of "Die Zigeunerin" this new opera was produced at the Renaissance Theatre. After the widow of Strauss had made arrangements with Halévy by which the original work could be performed, but in a different translation, made by Paul Ferrier, "Die Zigeunerin" was pushed aside for the new adaptation. The heirs of Wilder, therefore, are questioning the legality of this proceeding, and are suing Mme. Strauss for half of the total profits of the work's production in France, and 30,000 francs indemnity besides, on the ground that the introduction of the "Fledermaus" rendered impossible the continued presentation of "Die Zigeunerin" and cut off the revenue that would have accrued from such performance.
11These somewhat obscure claims, briefly stated, rest upon the principle that the author and the composer of an opera, or for that matter, any combination of words and music, are joint owners of the work on which they collaborate, and that neither author nor composer can apply his own share of the opera, songs or song in question, without full permission of the other joint owner. Wilder, then, in writing a libretto to the music of "Die Fledermaus" actually acquired a claim to the music of the "Fledermaus," and the profits which arise from its production in France, even with a totally different libretto, belong partly to him, as joint owner in the music. The attorney for Mme. Strauss, on the other hand, contests that the inseparability of collaborated works is a doctrine not tenable in any court. "Die Fledermaus" and "Die Zigeunerin," he claims, have nothing to do with each other; and, moreover, when Strauss entrusted to Wilder the writing of a new libretto he had no notion of giving up his right to the music, especially as the opera in its original form had already been given in both Austria and Germany.
13The court, however, has rendered decision that the heirs of M. Wilder be allotted one half of the total profits of the French production rights, and 3,000 francs indemnity (the indemnity being thus lowered on the ground that "Die Zigeunerin" would in no case have been so successful as "Die Fledermaus.") In addition, Mme. Strauss must pay all the costs of the suit. In case Mme. Strauss does not appeal this judgment will take effect within three months' time, and the "Fledermaus" profits formerly shared by herself and Paul Ferrier, translator of the current French text, will also be divided with André Maurel and Mme. Raimund, heirs to M. Wilder. one of two readings
14The court, however, has rendered decision that the heirs of M. Wilder be allotted one half of the total profits of the French production rights, and 3,000 francs indemnity (the indemnity being thus lowered on the ground that "Die Zigeunerin" would in no case have been so successful as "Die Fledermaus"). In addition, Mme. Strauss must pay all the costs of the suit. In case Mme. Strauss does not appeal this judgment will take effect within three months' time, and the "Fledermaus" profits formerly shared by herself and Paul Ferrier, translator of the current French text, will also be divided with André Maurel and Mme. Raimund, heirs to M. Wilder. one of two readings
16The Berlin Royal Opera reopens its doors today with a performance of "Rienzi." The first novelty this season will be the new opera entitled "Fest auf Solhaug," by the young Swedish composer, W. Stenhammar, the première of which will take place next month. Other novelties will be Tschai-kowsky's "Pique Dame" and Smetana's "Dalibor." Beethoven's "Fidelio" will be given with new scenery on October 20, the 100th anniversary of the first performance of the opera.
18Heinrich Hamner, hitherto leader of the Lausanne Symphony Orchestra, has been engaged as conductor for the new symphony orchestra that is about to start upon its career in Gothenburg (Goteborg), Sweden. Mr. Hamner, who is one of the greatest conductors of the day, has been commissioned to select the best musicians obtainable all over Europe, hence the new organization promises to be an élite orchestra.
20The first performance of Hugo Kaun's new orchestral work, "Falstaff," will be given by the Thomas Orchestra, Chicago, under Frederick Stock.
22Ugo Afferni, the new conductor of the Wiesbaden Kur-Orchestra, has quickly come to be a great favorite with the public as well as with the press. He has given a notable series of concerts during the summer, with interesting and varied programs, and the Wiesbaden papers speak of the conducting of the fiery young Italian in the warmest terms.
24The accompanying picture of Richard Wagner is as interesting as it is rare. It is the selfsame picture that was published in 1849 in a supplement to Eberhardt's Allege-meiner Polizei-Anzeiger (General Police News), at the time the writ for the arrest of the fugitive was sent out.
26ARTHUR M. ABELL.
28Myer at Round Lake.
30THE National Summer School of Music, for singers and teachers, under the direction of Edmund J. Myer, closed its twenty-first season August 18. The school was very successful, having an attendance of over fifty students from fourteen different States.
32Mr. Myer, who has gone on a trip to the Pacific Coast, will reopen his studio in New York October 16. Six musicales and four choral concerts were given by the school during the summer. The following is an account from the Troy Press of the last concert:
34The fourth and last concert of the season at Round Lake, under the auspices of the National Summer School of Music, of which Edmund J. Meyer is director, took place Saturday evening at the Auditorium at that place. On this occasion Frederic Cowen's cantata, "The Rose Maiden," was presented by the Round Lake Festival Chorus, under the baton of Alfred Y. Cornell. Robert G. Weigester officiated at the organ. Ethel Myer supplied support at the piano. The soloists of the evening were: Clara Edith Gardner, soprano; Carrie Farwell Voorhees, contralto; Fred G. Rover, tenor, and Ralph M. Brown, who sang the baritone solos. All these singers are advanced students of Edmund J. Myer, either at Round Lake or in New York, and may be considered from the usual professional standpoint. The chorus was at its best. Under the magnetic and forceful leadership of Mr. Cornell it won new laurels.
36JUSTIN THATCHER, Tenor
37VOCAL INSTRUCTION.
38TELEPHONE: 9018 Columbus. Long Acre Studios: 756 Seventh Avenue.
40HARPER, BASSO.
41Arcade Building, 1947 Broadway, NEW YORK
43ARTHUR L. BEARD Violinist
44Management ALONZO FOSTER, Tribune Bldg., N. Y.
46Prof. Rudolf Schmalfeld,
47Mme. Margarethe Schmalfeld-Vahsel,
48Kammersängerin.
49VOCAL INSTRUCTION.
50Lessons given in English, French and Italian.
51Wagner Singing.
52Heilbronner Str. 3, BERLIN, W.
54PIANO SCHOOL FOR THE
55LESCHETIZKY METHOD
56AND SCHOOL OF INTERPRETATION.
57Pupils received in the house and practice supervised.
58In charge of MRS POTTER-FRISSELL, pupil of Stepanoff, Prentner (certificated) and Leschetizky. Highly indorsed by Emil Sauer and leading Dresden musicians. Dunning System of Improved Music Study for beginners also represented. Instructor in Ehrlich's School of Music and Franklin College, Dresden. Apply Nurnbergerstr. 54, Pt. r. DRESDEN
60GEORGE HAMLIN
61Address: Care MUNROE & CO., 7 Rue Scribe, PARIS, FRANCE.
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