Scan 28
Musical Courier 1906-09-26: Vol 53 Iss 1383, 1906
59 lines. Read by computer on 23 September 2026. Printed page 29. See the scan on archive.org.
1Through mere good fortune Leipsic has just enjoyed a Gewandhaus concert, under Nikisch, a full month in advance of the regular season. The German and Austrian Alpine Society held a three day convention here, September 7, 8 and 9, and as one of the festivities in honor of the visitors the city tendered a special morning concert by the Gewandhaus Orchestra, with the soprano, Elena Gerhardt, as soloist. No symphony was played, but the following beautiful material was presented:
2Overture to "Midsummer Night's Dream," Mendelssohn.
3Songs for soprano and orchestra—"Vom Monte Pincio," by Grieg, and "Mignon," by Liszt.
4Weber's "Invitation to the Dance," in the Berlioz instrumentation.
5Songs with piano—"Auf dem Meere," by Robert Franz; "An eine Acolsharfe," "Der Schmied" and "O Liebliche Wangen," by Brahms.
6Overture to "Tannhäuser," Wagner.
7The character of the Nikisch musicality was immediately in evidence with the beginning of the Mendelssohn overture. What that represents is much easier to hear than describe, but the one important item is the mysterious atmosphere which takes possession the instant he begins. It is ever the atmosphere and the illusion of the operatic stage coming to light again in the concert hall and there is no scenic setting necessary. It is what Nikisch throws around the Schubert unfinished symphony and numberless other great works of the repertory. Following on all this comes the extraordinary leading of all the orchestral voices, such as he accomplishes so famously in the "Meistersinger" vorspiel and such as was beautifully in evidence in some parts of the Mendelssohn overture on the above program. The Nikisch interpretative apparatus might be assembled and easiest classified under the plain title of orchestral poetry. But that general characterization would fall far short in a consideration of what happens in the closing section of the "Tannhäuser" overture. Here the horns seem to assume something of the steady pull of a moving freight on an up grade, and just this sustained mobility is also strikingly in evidence in one movement of the same Schubert symphony, as Nikisch directs it. But language will always remain a poor medium of describing it and there is no need of taking out a patent on it. There are few who will ever be able to imitate it.
8Miss Gerhardt was in especially beautiful voice on this occasion. She made a deep impression on the visitors as well as the Leipsic residents. The members of the orchestra were enthused with her work and spoke of it warmly after the concert. The first regular concert of the new Gewandhaus season will be given October 10-11.
10On the first evening of the festivities for the Alpine Society the Willy Wolf Orchestra and the well known Lehrer Gesang Verein gave musical numbers between speeches and other exercises. This was in the variety hall of the Crystal Palace, where the deep orchestral pit and the unrestrained conversation of the masses assembled made it impossible to hear from the press stand just what orchestral works were produced, or how. But the Gesang Verein, under its usual director, Hans Sitt, lined up on the stage for its two numbers and the audience gave usual concert attention. The four songs produced were "Das deutsche Lied," by Peter Fassbender; "In den Alpen," by Friedrich Hegar; "Aufgeblüht," by Edward Kremser, and "Der frohe Wandersmann," by Mendelssohn. The chorus had come into superb voice and routine for the occasion and the result was singing in lovely quality and finish. The audience was glad to hear another number before allowing the chorus to go. Sitt is especially well placed at the head of a chorus, for he secures the finest possible intonation and observes many fine effects in the harmonic leading of the voices. He has been director of the Lehrer Gesang Verein for a decade or more.
12The Leipsic Opera is coming well into the business of the season, as will be seen by the following new theater program of seven operas for nine days:
13Sunday, September 9—Wagner's "Tannhäuser."
14Monday, September 10—Flotow's "Martha."
15Wednesday, September 12—Nicolaï's "Merry Wives of Windsor."
16Friday, September 14—Richard Strauss' "Salome."
17Saturday, September 15—Offenbach's "Hoffmann's Erzählungen."
18Sunday, October 16—Lortzing's "Undine."
19Monday, September 17—"Salome."
20During the same period the city operetta ensemble at the old theater was quite busy with Lehar's "Lustige Witwe," which has taken an unusual hold on the operetta going public. The operettas set for the time include:
21Sunday, September 9—Johann Strauss' "Wiener Blut."
22Monday, September 10—Lehar's "Die Lustige Witwe."
23Tuesday, September 11—Lehar's "Die Lustige Witwe."
24Thursday, September 13—Lehar's "Die Lustige Witwe."
25Friday, September 14—Lehar's "Die Lustige Witwe."
26Saturday, September 15—Lehar's "Die Lustige Witwe."
27Sunday, September 16—"Robert und Bertram."
28Monday, September 17—"Die Lustige Witwe."
30The performance of "Tannhäuser" on September 10 was a fortunate one, beyond the average. The new regisseur Elmblad had restudied the work as the first sample of his handiwork since his engagement for this opera. The scenic setting was therefore adequate, and numerous changes in the costuming, both of principals and ensemble, were noticeable. The performance was under Richard Hagel, whose results with the overture aroused the audience to applaud before the rise of the curtain. From then there was no lapse, either by artists or public, and at the close the occasion was almost in the nature of an ovation, with Elmblad, Hagel and principals called often to the curtain.
31The roles were all presented by members of this opera, with the tenor Urius in the title role. The baritone Wolfram, was presented by Herr Soomer, the Elizabeth by Jenny Osborn Hannah, and Venus by Fraulein Sengern. Herr Soomer's great voice and distinguished style were apparent here just as in practically everything that he is called to sing. Mrs. Hannah, presenting the Elizabeth for the first time since her debut in the role in April, showed marked progress in her general command of play, and she was also in splendid voice. The beautiful contralto, Sengern, was again at the disadvantage of singing music much higher than the natural lay of her voice warrants, but she is so good an artist as to overcome this sort of difficulty with the very best success that could be expected.
33This office acknowledges receipt of a post card bearing announcement of the four concerts that Rudolph Ganz will play in Berlin, October 6, October 18, November 3 and 8. All but the second will be played with the Philharmonic Orchestra. The whole thing looks good to this office, and as the first program brings both of the Liszt concertos and a new one by Emil Paur, the Leipsic correspondent believes that he knows now where he will spend his 6th of October.
34The third concert brings the Tschaikowsky B flat minor, Vincent d'Indy's "Symphonie Montagnarde" (piano and orchestra), and the Brahms D minor concerto, Mr. d'Indy directing his own concerto. The fourth concert is one of orchestral compositions directed by Busoni, wherein Ganz will play two dances for piano and orchestra by Debussy, also the Beethoven C minor concerto with cadenza by Alkan. Mr. Ganz's new Berlin address is Potsdamer Str., 121.
36The baritone, Sidney Williamson, of Christ Church, New Zealand, has spent three years here at study, and for a season or two has taught. He and Mrs. Williamson have now engaged a flat in the pretty suburb called Gautsch, and Mr. Williamson will devote practically all his time to teaching.
37EUGENE E. SIMPSON.
39Janpolski's Russian Recitals.
40Albert Janpolski's Russian recitals, sung in the original Russian, have been in demand throughout the country. Mr. Janpolski arrived in New York last week from an extended trip. During his visit West he sang for many conductors, managers and committees representing musical clubs, and everywhere his finished and impassioned art, and noble baritone voice, brought him rewards in the way of engagements. He is now booked in the West for a tour through several States. Mr. Janpolski has in the past year or two sung with the New York Symphony Orchestra, the Russian Symphony Society, the New York Oratorio Society, the New York Choral Union, the Philadelphia Orchestra, the Cecelia Club of Boston, and in a special series of chamber music concerts given in Boston. Some recent Janpolski press notices are appended:
41Mr. Janpolski, in "Wotan's Farewell," with the New York Symphony Orchestra, proved himself, as usual, an able and sincere artist, the dramatic part exactly suiting his voice and style.—New York Evening Post.
42Mr. Janpolski sang Wagner's "Abendstern" charmingly, giving it so splendid an interpretation that he was recalled again and again.—New York Journal.
43Mr. Janpolski's singing of the Rubinstein aria from "The Demon" was thoroughly enjoyed last evening at the concert of the Russian Symphony Orchestra.—New York Tribune.
44"The Creation" was the work given at the last concert of the New York Choral Union Society, Albert Janpolski, the baritone, scoring an emphatic success. He sang the music allotted to him with dignity and reverent regard for the work in hand. His quality of tone was especially commented upon.—New York Evening Mail.
46Lillia Snelling's Prospects.
47Lillia Snelling, the contralto, is engaged to appear in Cambridge, Mass., as soloist with the Boston Symphony Orchestra later on. This year she is under the exclusive management of Haensel & Jones. Possessing a fine voice, under most artistic control, thorough musicianship and most ingratiating appearance, Miss Snelling's future will be watched with interest. Not long ago she sang at North Shore, Swampscott, Mass., with gratifying success. The Boston Journal next day printed her picture, with the following comment:
48Many people heard and afterward met Lillia Snelling, the handsome New York singer. Despite the threatening skies the room was filled. Miss Snelling's singing was a revelation, and rarely has a voice been heard of such timbre, and so well placed. It is of wide range, and her selections were most difficult. * * * Her dark beauty was enhanced by a gown of pale blue satin.
49The paper, in mentioning the well placed voice of Miss Snelling, pays a compliment to Laura E. Morrill, who has been her only teacher.
51De Macchi Has Engaged a Roman Theatre.
52De Macchi, the vocal teacher, returned from Europe last Wednesday on the steamer Hamburg of the Hamburg-American Line. Mr. de Macchi announces that he has engaged the Teatro Nazionale in Rome for the purpose of presenting there next spring a season of grand opera with American singers. Mozart's "Don Giovanni" will be in the list. Mr. de Macchi accompanied by Mme. de Macchi, was absent three months, and in that time, they visited Naples, Rome, Milan, Venice, Bayreuth, Munich, Carlsbad, Baden-Baden and Paris.
54Isabella Beaton's Success in Summer Work.
55Isabella Beaton, the brilliant pianist and composer, has just closed a series of lecture recitals before the advanced history classes in the summer school of the Cleveland, Ohio, School of Music. Among the works played and analyzed were the Bach-Busoni concerto in D minor, the Saint-Saëns concerto in G minor, the Brahms concerto in B flat, and interesting compositions by Sinding, Moszkowski, Grieg and Algernon Ashton.
57Kneisel Quartet Dates.
58The Kneisel Quartet will give the usual series of concerts at Mendelssohn Hall this season. J. M. Priaulx, who has succeeded the late George Becker as local representative, announces the following dates: November 13, December 11, January 8, February 5, March 5 and April 2. All the concerts will be given evenings.
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