Scan 32
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
64 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1spent with the young composer, who read the scores at the piano, was hardly sufficient to a definite idea of his feeling for orchestration, but the works were continually conceived in polyphonic manner, and the probability is that there is a strong and individual thought content in all. The variations are thought to be the best work. The Leipsic papers had written very well of his "Canadian Nature Pictures" on the occasion of their performance at the Conservatory.
3Edwin Lindner, of Bielitz in Galicia, near Cracow, is another of those who have been in the Nikisch conducting class for two seasons. In advance of their recent departure for Vienna, Herr Lindner and his sister, Fräulein Olga Lindner, received a number of musical friends in their apartments in Sidonien Strasse. Lindner greatly entertained the guests by faithful representations of the style of various conductors. The conducting characteristics of Arthur Nikisch, Hans Winderstein, Dr. Muck, Weingartner, Mahler, Hans Sitt and others were finely suggested, both in their humorous and serious phases.
5The second Reisenauer recital was devoted to Wilhelm Friedemann Bach, Beethoven, Schubert and Schumann. August Stradals piano transcription and cadenza to the younger Bach's organ D minor concerto was the principal work. The program closed with the Schumann toccata. Reisenauer seemed much better disposed than on the occasion of his first recital, and much pleasure was derived from his playing. This artist probably produces the most ponderous tone of any pianist before the public, and in such compositions as find that tone in place he is hardly to be surpassed. The Schumann toccata is not one of them, though Schumann generally suits the artist very well.
7Leonard Kreutzer's second concert in the Kaufhaus was for piano alone. The Bach Liszt G minor organ fantaisie and fugue, the Schumann fantaisie, op. 17, and the Chopin B minor sonata contained the weight of the program. Kreutzer has all the equipment of a good musician, but he is still in that stage of youth where he does a great deal of coarse playing. When a few years have tempered him he will be a most enjoyable artist.
9The violinist, Irma Halacsy, played a recital in Hotel de Prusse, playing with Max Wünche the Beethoven F major sonata for piano and violin, op. 34, and her own E minor concerto. The concerto was a piece thrown together in crazy quilt style, seemingly without order or sequence. It is but justice to remark that the composition contained many really violinistic figures, requiring much technical facility. The young woman had this at her command, but very ordinary musical taste cropped out here occasionally, just as it did in the Beethoven and other playing.
11At the autumn concert of the Leipsic Männerchor, under the direction of Gustav Wohlgemuth, Heinrich Zöllner's "Bonifacius" for soprano, baritone, male chorus and orchestra, was given. This composition has been selected as the principal number for the seventh German Saengerfest at Breslau, in July, 1907. Friederich Hegar's ballade, "Das Herz von Douglas," which was given its very first performance here last spring by this chorus, under the direction of the composer, was given for the second time in the October concert.
13The "Bonifacius" is a composition of considerable character and musical attractiveness, built on an old German myth of a Wotan priestess. She and her heathen followers awaited the coming of the Christian, "Bonifacius," who would fell the sacred oak of the heathen god. The heathen do not oppose Bonifacius, for they believe that Wotan will himself avenge the felling of the sacred oak. The chorus, under Wohlgemuth, sang splendidly, and Zöllner was given an ovation. The soloists were: Soprano, Frau Schauer Bergmann, of Breslau, and, baritone, Walter Soomer, of Leipsic.
15Heinrich Zöllner, since 1899 director of the University "St. Paul Verein," latterly an instructor in the Leipsic Conservatory and principal critic on the Tageblatt, has resigned all of these posts and gone to Weisbaden for his health. He is succeeded on the Tageblatt by Eugen E. Segnitz, who has also the assistance of Felix Willerrod and Ludwig Wambold.
17The violinist, Albert Jarosy, for a time an assistant to Hugo Heermann at Frankfort-am-Main, has located in this city and established "The Leipsic Trio," comprising also the pianist Arthur Reinhold and 'cellist Moth.
19Kussewitzky and Goldenweiser were attended on the Leipsic trip by Franz Goldenweiser and Composer R. Glière, of Berlin, also recently of Moscow. Musical information on Russia is not now easy to get, so the correspondent improved an opportunity to hold an ensemble interview with the above quartet as they sat at breakfast in Hotel Hauffe. Of the entire party, Herr Goldenweiser proved to be the best Russian. That is, he spoke the least German of any and he had been away from Moscow only a few days.
21Herr Goldenweiser said that the musicians of Moscow had planned ten symphony concerts by the Imperial Orchestra, under Ipolitoff Iwanoff, and ten by the Philharmonic Orchestra, of which five would be directed by Mlynarsky, of Warsaw. Three would be under Vincent d'Indy and two under Foret, both of Paris. The first imperial concert was set for November 19, the day of this interview.Replying to the inquiry as to difficulties arising from political disturbances, Goldenweiser said that the Moscow Imperial Conservatory was closed through November and December, 1905, and the Philharmonic Conservatory was closed all last spring, but that instruction was in progress at both conservatories now. Other Russian cities to the south and east of Moscow had experienced great musical progress up to within two or three years ago, but very little could be expected there at present. It would be good fortune if concerts in Moscow came off this season according to schedule. Among those already announced was a November recital by Josef Hofmann. This party represents Hofmann to be the most popular pianist who visits Moscow, as he can appear there successfully from three to six times a year.
23Goldenweiser reported that the Moscow pianist and composer, Nikolaus Metner (1880—), would take up his residence in Munich in December. He has written three piano sonatas, of which one is published and the other two are in press. He has composed interesting songs on Goethe poems. He is a piano pupil of Safonoff and composition pupil of Tanaieff. He has not yet written a concerto. Tanaieff is just publishing a work on counterpoint that has occupied fifteen years in the preparation.
25Herr Glière, of this party, will have a concert of his own compositions played in Berlin, possibly in Leipsic, in January. The program will include his string quartet, four piano pieces, four songs and his third string sextet. The performances will be led by the brothers Josef and Michael Press.
27The Norwegian soprano and contralto, Frau Gloersen Huitfeldt and Fräulein Magnhild Rasmussen, sang lieder and duets to a good sized audience in the Kaufhaus. The duets included much Norwegian folk material and works by Brahms, Mendelssohn, Dvorák, Bernecker and Schumann. The voices were well suited to each other, though the preponderance of vocal art was with Frau Huitfeldt. The other voice sometimes lacked intensity, apparently through incorrect vocalization. But the routine displayed in the delivery was far beyond the average and as both members were very musical, there was much enjoyment in their program.
29In a brief conversation with these singers it was learned that the pianist Dohnányi had recently played five times in Christiania to sold out houses, and that the general musical interest in Norway was especially good now. However, Norway had no permanent operatic organization, so that it was only an occasional performance arranged with outside assisting artists that was offered to the public there. They thought conditions were growing better, but some time would be required until the relief would be complete. Though these artists are under the Norwegian management of Gebrüder Hals, of Christiania, their German tour is under Leonard, of Berlin. The local arrangements in Leipsic were under the Eulenberg bureau. Alexander Neumann, of Berlin, is piano accompanist for the tour.
31Felix Berber played the Mendelssohn concerto, the Joachim Hungarian concerto and the Joachim E minor variations for his concert in the Kaufhaus with the Winderstein Orchestra, under Bernhard Stavenhagen. Those who have sometimes heard fine lyric playing by Berber, especially the three Brahms sonatas, may have felt less enthusiastic over this work in the Mendelssohn. Of the three movements probably the first went best, with a certain unhesitating vigor that was wholesome to hear after many performances by smaller artists. The two works by Joachim are all but impossible in many of their parts. Ungrateful, unceasing tasks in chords difficult to make sound, abound in both works. Berber showed command of his instrument in keeping with the reputation he holds among present day German violinists, but there was much rough playing in the course of the evening. The artist was well received by the public and was particularly well treated by the daily press. The local arrangements were by the Hugo Sander bureau, which arranged the Berber-Stavenhagen sonata evenings of last season.
33Jan Kubelik has won the greatest popular success thus far this season and has received the most disrespectful treatment at the hands of the press. The offense which induced trouble was the presence of Kubelik's circus size posters, which were all over the city before the concert. But the truth about the concert itself is that in the Saint-Saëns B minor concerto and the Bruch Scotch fantaisie Kubelik played so unceasingly like a violinist and a musician that there was absolutely nothing to be urged against the art or the mechanism. It was an exhibition of musical and technical integrity that places Kubelik far and away above most of the violinists of this day. The Scotch themes in the Bruch fantaisie are not a very long jump from the Slavonic of Kubelik's nativity, and the artist will scarcely find music which fits him closer. The melodies were thoroughly warming in his fine feeling. At the close of the concert the audience stayed a half hour, during which Kubelik played five encores. The Winderstein Orchestra, under its own director, accompanied with unusual regard for the rights and the necessary support of the soloist. The pianist Eduard Goll played the Mendelssohn G minor concerto. The local arrangements of the concert were by Reinhold Schubert.
35Qualifying a foregoing remark on mechanism, it should be stated that one local writer urged that Kubelik should buy a G string. Another writer was in favor of an E string. The D and A strings were good up to the hour of going to press.
37A concert with the Winderstein Orchestra introduced the pianist, Johanna Priber; the mezzo soprano, Frida Schreiber, and 'cellist, Alfred Saal. The Liszt A major concerto for piano and the Saint-Saëns A minor 'cello concerto were the chief numbers. The singer appeared only with piano accompaniment. In the playing of the Liszt concerto she showed such qualities as would make a good pianist in time. Just now the work is correct, but without enough interpretative character to make an impression with this concerto. Herr Saal's work in the Saint-Saëns concerto was comparatively further advanced and gave pleasure. His playing of the Bruch "Kol Nidrei" fixed the attention of the audience still more firmly. Fräulein Schreiber's singing had many excellences of musical quality, enunciation and general vocalization. Three songs by Cornelius, one each by Wolf, Schillings and Pfitzner were presented. one of two readings
38A concert with the Winderstein Orchestra introduced the pianist, Johanna Priber; the mezzo soprano, Frida Schreiber, and 'cellist, Alfred Saal. The Liszt A major concerto for piano and the Saint-Saëns A minor 'cello concerto were the chief numbers. The singer appeared only with piano accompaniment. In the playing of the Liszt concerto she showed such qualities as would make a good pianist in time. Just now the work is correct, but without enough interpretative character to make an impression with this concerto. Herr Saal's work in the Saint-Saëns concerto was comparatively further advanced and gave pleasure. His playing of the Bruch "Kol Nidrei" fixed the attention of the audience still more firmly. Fräulein Schreiber's singing had many excellences of musical quality, enunciation and general vocalization. Three songs by Cornelius, one each by Wolf, Schillings and Pützner were presented. one of two readings
40Word reaches this city that Karl Klein has had an immense success at his recent concert in Vienna with the Wiener Konzert Verein's orchestra under Gustav Guthel. The critics of that city wrote enthusiastic notices. Among these were Max Kahlbeek, of the Tagelblatt, and Professor Wasanreck, of Die Zeit. Mrs. Klein and her family will soon return to Leipsic after spending a few days in Prague.
42EUGENE E. SIMPSON.
44MUSIC IN FRANKFORT-ON-THE-MAIN.
46FRANKFORT-ON-THE-MAIN. December 5, 1906.
48The quartet here, of which Concertmeister A. Hess is the leader, opens the season with promise of excellent work, as was witnessed night before last, when the quartet, op. 48, of Bernhard Scholz, had its first hearing in this city. The classical programs frequently result in an ostracizing of the newer compositions, and it took all these years to bring this quartet forward. A duo, in D major, by Spohr, was also played. It is written for two violins and is also worthy of more extensive production. The program closed with Dvorák's F major quartet, op. 90. Scholz, Spohr and Dvorák make an interesting trio for a quartet evening.
50In the neighboring and neighborly city of Heidelberg there was excitement a few days ago and the students delayed their duels, for Max Reger conducted at a concert of the local Bach Society his new "Serenade," in G major—orchestral of course—and played one of the piano parts in a new "Passacaglia," for two pianos, Professor Wolfrum, the Heidelberg musical archaeologist playing the other piano. The "Serenade" was received with much approval; this means that the "Passacaglia" was not.
52Max Bruch's "Odysseus" was produced three evenings ago at Friedberg, under the direction of Usinger. They have a Musikverein in the little town that perpetrates such things and crows over them. The chorus is from the town. The soloists were Adolf Müller and Frau Kaempfert, of this city, and Dr. Schmidt, pianist, of Darmstadt.
54Nearby here is another of the twenty-two University towns of Germany, Giessen being its name, and Otto Wissner, the Brooklyn piano manufacturer, was born there, and visited the place this year, and, I believe, the Concert Verein uses a Wissner grand piano. This Concert Verein had a concert the other evening, and Elsa Ruegger, the 'cellist, made a splendid impression with her fine playing. Frau Basserman, of this city, functioned at the piano.
56Just as in Heidelberg, Friedberg and Giessen, music of the best quality is heard nightly in hundreds of German cities. It forms an essential part of the civic life of the people.
58P. one of two readings
60(no line here) one of two readings
61Richard Hageman, Vocal Coach.
63Richard Hageman, the pianist and vocal coach, who has numbered Melba and Nevada among the singers who have "coached" with him for public work, accepts pupils for opera, oratory and song repertory. Mr. Hageman is a remarkable linguist, speaking English, German, French, Italian and Dutch.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.