Scan 34
Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
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1VICTOR HERBERT.
3IT is with quite exceptional pleasure that THE MUSICAL COURIER is enabled this week to have the honor of printing the portrait of Victor Herbert, American composer and conductor, who is to lead the next four Philharmonic concerts, December 1, 2, 15 and 16.
5Victor Herbert is such a familiar and popular figure in our local and national music life that THE MUSICAL COURIER does not propose to enter into dry biographical data here for the sake of telling what the genial composer-conductor did before he became known in this country, where his reputation was mainly made. A man is known in the musical world by his musical deeds, and Victor Herbert's musical deeds are the basic element of the fame which he has deservedly won and now so properly enjoys.
7As a 'cellist, this versatile man has few peers, and local music lovers remember with pleasure his performances in former years of his own splendid concertos, and of the masterpieces of the classical and romantic composers for the 'cello. In all the New York orchestral concerts of one and two decades ago Herbert's 'cello obligatos and solos in the symphonies, overtures and symphonic works of all kinds, were always one of the most distinctive and enjoyable features.
9Herbert's reputation as a composer of classical music followed fast in the footsteps of his fame as a 'cellist, although he wrote comic operas also, which are very successful. His two concertos for his favorite instrument are models of their kind, filled with sprightly melody and of exquisite workmanship, and thoroughly modern in facture and technic, while retaining all the established dignity and impressiveness of the orthodox concerto form. Other 'cellists soon realized the worth of the Herbert concertos, and they have been performed repeatedly at the best symphony concerts in Europe and America.
11Herbert's "American Fantasy" is one of the best known repertory pieces in high class concerts everywhere on the American continent. Brilliant in orchestration, rich in the invention of its melodic and rhythmic appeal, aided by the patriotic spirit it portrays, the work is never heard anywhere in this country without arousing its hearers to the most frenetic demonstrations of applause. The "American Fantasy" has been played by every prominent conductor in the United States.
13Of all Herbert's orchestral works, perhaps the finest is the symphonic poem, "Hero and Leander," which the composer himself led at a Philharmonic concert last year, when he was most fittingly chosen to direct the concert which had been reserved for Theodore Thomas, who was deprived by sudden death from accepting the flattering invitation of the Philharmonic Society. "Hero and Leander" is a work of serious mien and facture, steeped in rich orchestral color, glowing with imagination, and embellished with all those arts and artifices of modern orchestration which characterize the work of our best latter day composers. Wherever it has been heard "Hero and Leander" is acclaimed as one of the representative compositions of recent times of the later American school.
15But easily as important as his prowess in composition is Victor Herbert's mastery of the baton. His remarkable work in Pittsburg, where he led for five years, as head of the Symphony Orchestra there, is too well remembered by THE MUSICAL COURIER readers to need repetition at this moment. Herbert trained and developed the raw material which he found in Pittsburg, and laid the foundation for the finished work which the Pittsburg Orchestra now is able to accomplish under its present leader. A glance over the Pittsburg programs of Herbert will show that he has at his fingers' ends all the entire representative musical literature for orchestra.
17The qualities which he displayed in Pittsburg were all in evidence here when he led the Philharmonic concert last season, exuberant temperament chastened by scholarly sobriety, warm imagination tempered by dignified musicianship, and a fine perception of the most subtle niceties of phrasing, orchestral combination and instrumental shading and coloring. Also he revealed all the executive powers without which no conductor can hope to be great.
19Gifted with all these advantages, Victor Herbert seems to be the logical choice as permanent conductor of the Philharmonic Society when that body gets ready to choose such a counsellor, guide and friend. At present the "prima donna" system is still in favor with the Philharmonic rulers, but it seems safe to say that the time will come when a reversion to the old style will be made almost imperative. The "prima donna" system will destroy itself by a perfectly natural and comprehensible process, which is too obvious to need elucidation.
21When that time comes, who more fitted to take up the reins of the Philharmonic than Victor Herbert, now a permanent resident of New York, a favorite of the people (as evidenced by his Sunday night concerts at the Majestic Theatre, where crowds flock to hear him conduct) and one of the best experienced and best equipped musicians in this large country, where first class musicians are the rule rather than the exception. Victor Herbert is the man for the place, by all means, and it looks to those on the inside as though the Philharmonic Society is already contemplating his engagement when it makes its final choice. His coming appearances with the Philharmonic Society are being awaited with considerable interest by the music lovers of this community.
23LIEDERKRANZ CONCERT.
25THE Liederkranz Society, under Arthur Claassen's musically and spirited direction, gave one of the best concerts of its long and brilliant career last Sunday evening, November 26, with the assistance of Jean Gerardy, 'cellist, and Dr. Rudolph Pröll, baritone.
27The chorus was in excellent trim, and sang with all the vim, accuracy and tonal variety to which Claassen and his Liederkranz singers have accustomed us in the past. d'Albert's cantata, "An den Genius Deutschlands," was the main choral number on the program and it was given an impressive performance. The work is well made and effective, even though there is more genius in its title than in its melody. "Waldeinsamkeit" and "Wegewart," orchestrated for female voices and orchestra by Director Claassen, are splendid examples of matured musicianship and were beautifully sung and deservedly applauded. Claassen's best work as a leader came to light in Tschaikowsky's "Romeo and Juliet" fantasy overture, which he conducted with tremendous passion and temperament.
29Jean Gerardy has been heard too often in New York to need any detailed criticism of his art at this late day. It is only necessary to say that he was in better form than ever, and stirred his hearers to the utmost manifestations of applause and enthusiasm.
31Dr. Rudolph Pröll introduced himself as a singer gifted with all the graces of voice and delivery that are requisite in a concert baritone of the highest rank. He is sincere, musical and temperamental, and his voice possesses range and emotional resource in ample sufficiency to allow of his portraying every musical mood, from the lyrical to the high dramatic. In Riedel's unfamiliar "Biterolf in Lager vin Acon" Dr. Pröll accomplished a performance that made little less than a sensation, and earned a decided triumph for the singer.
33Other vocalists who appeared at the concert last Sunday were Josepine Hovemann, Maria Orthen, Carl Schlegel, Jacob Pollack and H. B. Trost. The audience, as usual, was as large as the capacity of the hall would allow.
35Maine Musician Dead.
37JOHN W. WOODBURY, a musician widely known in the State of Maine, died suddenly Friday, November 24, on North street, Portland. Death resulted from a stroke of apoplexy. Mr. Woodbury was fifty-four years old. In the musical world he made a reputation as pianist, organist, and also as a performer in the orchestra.
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