Scan 29
Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
20 lines. Read by computer on 24 September 2026. No printed page number was found. See the scan on archive.org.
1CHICAGO, November 25, 1905.
3THE seventh program of the Theodore Thomas Orchestra's regular season in Orchestra Hall embraced four works. They were the overture to the Cornelius lyric drama, "Der Cid"; the Richard Strauss symphonic fantaisie, "Italy"; the Tschaikowsky B flat minor concerto for piano, and Georg Schumann's op. 30, the "Variations and Double Fugue on a Jolly Theme." Waldemar Lutschg, whom Chicago has but recently claimed as a citizen, was the soloist, and so great was his performance of the work in hand a great share of the interest of the concert centred on him. His playing is electrifying in big passages by an almost superhuman intensity, but that is not in any sense the prime feature of his art. For the real secret of his musical being one has to go back to an elementary principle and find him out by his gift of expression—a gift so pronounced in him as to be almost unique. By this a composition in his hands contains an eloquence and a character that may not have been previously spoken of. If the new element had anything out of keeping with the evident intent of the message, it could be disturbing, but Lutschg gives himself up only to music making, with results that are uplifting and rejuvenating.
5The Cornelius overture, which began the program, was easily in a class with the excerpt from the same drama, the "Siegsmarch," which was given here last week. It is comparatively plain, well made and wholesome music. The Strauss fantasia is not dismissed so simply. The question as to how good music it is depends largely upon how well the individual likes it. Some like very little of it. The interviewer is among those who like most of it, but would like a few more prayerful sittings with the second movement, in order to call up the exact complexion of the atmosphere around the ruins of Rome when Strauss visited the place. The rest is easier, and there is no reason why a man with a good liver could not thrive on it. It was evidently intended to be adaptable to human needs. It is so adaptable, and there is much pleasure in it. The same is true of the Schumann variations and fugue. Rollicking good humor and offhand slashing around are found in it, and it ought to be taken up warmly in well ordered communities, just as it was in Chicago.
7Mr. Stock and his men were on a very high plane of accuracy and enthusiasm. Every such performance by Mr. Stock puts him a few strides forward in public estimation and in the esteem of the musicians. Space does not now permit notice of the orchestra's concerts that are being given at Leon Mandel Hall and at Ravinia Park.
9When a singer comes before the public and substitutes compositions without notice, then sings the texts in a manner entirely impossible to understand, a reviewer of concerts might feel absolved from duty and be justified in turning the affair over to the society reporter, who would take proper cognizance of the hat and gown, along with any choice gossip that might be apropos of family affairs. But wherever the Lord has placed a beautiful voice and accompanied it with at least the serene spirit that is appropriate to the presentation of compositions by Mozart and Schubert, it may be still the duty of the reviewer to make occasional reminder of the fact. This is due acknowledgment, then, of the recent concert given in Orchestra Hall by Emma Eames under the management of F. Wight Neumann. Madame Eames sang a Mozart aria, a group of songs, a part of which were not those represented on the program, and in company with the baritone, Emilio de Gogorza, a duet from the Ambroise Thomas opera, "Hamlet." She was enthusiastically received and gave many encores in response.
11Madame Eames had the assistance of the venerable 'cellist, Joseph Hollman, who played with the pianist, Amherst Webber, the Handel sonata in G, the Boellmann symphonic variations, Popper's "Arlequin" and two compositions of his own, an andante and "Le Rouet." He played with great inspiration and all of the tonal beauty and intellectual fineness of the best of the French school. The Spanish baritone, Mr. Gogorza, followed the piano and 'cello sonata with an imposing rendition of the "Pagliaccii" prologue, also a group of songs. His voice is a powerful one, under excellent school, and his temperament is so much the dramatic that he takes his audience with him from the first. He, too, sang a number of selections in answer to the great enthusiasm which followed each number. The accompanist, Mr. Webber, had as solo number the Wagner-Liszt "Liebestod." This artist is temperamental beyond what Chicago concert visitors expect or desire of an accompanist, though the great energy he displayed may have been what the solo artists wanted to arouse them. A very large audience was present and must have proved profitable to the management.
13The venerable basso, Jules G. Lumbard, of Omaha, sang at an Iowa convention three or four years ago, "Are Ye Sleepin', Maggie?" and an agricultural editor, in the speculative vein common to his profession, wrote that in the singing of the selection Mr. Lumbard's voice was as resonant and sweet as when he first sang the song as a lullaby to his sweetheart on Mt. Ararat. That may have been correct as to the voice, but the truth about the song was that Mr. Lumbard had been singing it for only half a century. When the veteran singer rendered the same selection in the testimonial concert given him by Will J. Davis in the Illinois Theatre, Chicago, November 23, fifty-four years and six days had elapsed since his first public appearance in Chicago. Mr. Lumbard came to this city in 1850 and sang the next year in a testimonial concert to his brother, Frank Lumbard, then teacher of singing in the public schools. The concert was billed for November 13, 1851, but on account of a storm was postponed and given November 17. An outline of the program of songs thought to be worthy of production at that time is found in the Daily Journal of November 12, as follows: "The program is an excellent one and embraces, among other pieces, 'Meet Me by Moonlight Alone,' by F. Lumbard, J. D. Cole and J. G. Lumbard; 'O'er the Far Blue Mountain,' by Mrs. Lumbard and Miss Nowlin; 'Here's a Health to All Good Lassies,' J. D. Cole, Frank, H. G. and J. G. Lumbard; 'My Boyhood's Home,' by F. Lumbard; 'Tis Past the Hour,' by Miss Nowlin, &c. The concert is tomorrow night, remember—"A word to the wise." The same newspaper reported the concert on November 18 as follows: "The Concert.—Frank Lumbard's concert in Tremont Hall last evening was fairly attended and the music produced was 'beautiful exceedingly.' With such singers at home it is needless to go abroad for harmony."
15The concert given last week in the Illinois Theatre enlisted the services of much agreeable talent and was most interesting through Mr. Lumbard's own participation. He sang Pinsuti's "I Fear No Foe," and in a duet with the fine tenor, Wallace Moody, "The Larboard Watch," by T. Williams; also the late George F. Root's celebrated "Rally Round the Flag," which was sung here by Mr. Lumbard on the evening of its composition, following the defeat of the Union army at Bull Run in 1861. Mr. Lumbard's four score years of age and his fifty-four years' experience as a singer are comparatively fruitless of wear and tear, for his form is firm and erect, and his voice is pleasing to hear. One knows that the voice must have been a very fine one in its prime, though only the lowest tones show themselves less responsive now.
17Of the others who assisted in the recent concert, the very veteran but youthful looking baritone, John E. McWade, exemplified the principle that, though a singer have but one arm, he may yet have the best voice. He sang Macey's "Good Night, Little Girl" in a voice of unusually fine character. The venerable basso, John M. Hubbard, assistant postmaster of Chicago, sang an aria from Mozart's "Magic Flute" and led the audience in a rousing chorus rendition of the old time darky song, "Old Shady."
19Another incident of the concert that was typical of the distant past was the rendition of a violin solo composed by Kalliwoda. It was the composer's "Reminiscences of Home," rendered by William Moebius, musical director of the theatre. Kalliwoda was born in Prague in 1801 and died at Karlsruhe, 1866. He wrote seven symphonies, a number of overtures, concertos and other solos for violin, besides three string quartets, a concerto for two violins and other material; yet in the fifteen years of the interviewer's concert going, this is the first time he has seen or heard a violin solo by Kalliwoda. The selection played by Mr. Moebius was about as De Beriot wrote, with the melodic passages in thirds and sixths, with an occasional variation, with effects for left hand pizzicati and spring bow. The sopranos, Blanche Gilson, Monica Mast and Clara Hess; the contraltos, Ellen Durell and Mrs. Hilda Matthey; the violinist, Florence M. Reeves; the 'cellist, Paul Schoessling; the pianist, Rowena Schiffbauer, and accompanist, Mrs. James Farrand, were the others who assisted. The contralto, Mrs. Matthey, is president of the Harmony Club at Davenport and is a pupil of Louise St. John Westervelt. During the afternoon Mr. Lumbard made appropriate acknowledgment of the services of all present, and Mr. Davis also came forward and spoke
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