Scan 7
Musical Courier 1907-03-20: Vol 54 Iss 12, 1907
26 lines. Read by computer on 26 September 2026. Printed page 8. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1PARIS
3CHAMPS ELYSEES, NEAR THE MUSICAL COURIER'S PARIS OFFICE.
5[Artists contemplating American engagements can secure valuable practical advice by consulting Mr. Delma-Heide, Paris correspondent of The Musical Courier.]
714 RUE LINCOLN, AVENUE DES CHAMPS-ELYSEES.
8CABLE AND TELEGRAM ADDRESS, "DELMAREIDE."
9PARIS, March 4, 1927.
11"La Faute de l'Abbé Mouret," a drama based on the romance or novel of Emile Zola, with scenic and incidental music composed by Alfred Bruneau, was produced for the first time last Thursday evening at the Odéon. The work met with instant recognition dramatically and musically; for its scenic or decorative worth and its theatrical structure. Musically considered, it may be stated that M. Bruneau has somewhat modified his habitual manner—the music following a process already happily employed by him—not so much in the incidental accompaniments as in the intermediate portions, the preludes and interludes. Each tableau or scene is preceded by a symphonic prelude, or introduction, and the music may be termed symphonic throughout, lengthy in spots, perhaps, but often very melodious. The choruses, heard at some distance, lend a very poetic impression to certain moments of the play.
13The strangely powerful talent of Zola, colored tonally by that of Bruneau and executed by the Colonne Orchestra, will prove an undeniable attraction for the imaginative theater goer.
15The main features of yesterday's concert at the Conservatoire were Emil Sauer with the Schumann piano concerto and the Berlioz symphony with viola solo, entitled "Harold in Italy." This symphony, the program announced, was now given for the first time at the Conservatoire; but I remember reading elsewhere that the first hearing of this composition at the Conservatory was had in November, 1834, and that the performance was repeated twice before end of the same year. However, I was not present at the time, and therefore cannot corroborate the statement. Paganini, it is related, inspired the idea of a solo viola part, as he desired to play one. Berlioz said: "To please the illustrious virtuoso I tried to write a solo for the viola, but a solo combined with orchestra, not in conflict with the instrumental mass, and being well assured that Paganini, by his incomparable and powerful execution, would always preserve his instrument as the principal role. Hardly had I written the first part when Paganini wanted to see it, but noticing the pauses contained in the allegro for the viola, he cried that they were too long and that he wanted to play continuously. I retorted that what he really wanted was a 'concerto' for viola, and which he could best write for himself. He appeared disappointed, and left me without further comment on the work I had thus far sketched." Berlioz then finished his symphony, treating the viola part as a more or less active personage—a melancholy dreamer, let us say, in the genre of Byron's "Childe Harold," and naming this symphony "Harold en Italie." A celebrated artist, Urban, was the first to play the viola part; later, about 1840, in London, when Berlioz conducted the Philharmonic Society, the violinist, Ernst, performed the viola part; and yesterday, at the Paris Conservatoire, Maurice Vieux was much applauded for a similar performance.
17Schumann's A minor concerto, performed by Emil Sauer and the orchestra of the Conservatoire, under direction of Georges Marty, left no room for criticism other than admiration. Besides the works above mentioned, the program contained Beethoven's overture to "Leonore," excerpts from Widor's "La Nuit de Walpurgis," first audition, and three unaccompanied choruses from Palestrina, Nanini and Bach—Beethoven opening and Berlioz closing this interesting concert.
19At the Lamoureux-Chevillard concert, given in the Sarah Bernhardt Theater, the overture to "Frithjof," by Dubois, headed the program; then the C major symphony of Schumann followed; Albert Geloso appeared as the brilliantly finished performer of the Saint-Saëns violin concerto in A major; and "Dolly," of Gabriel Fauré, instrumentated as an orchestral suite by Henri Rabaud (first audition) easily led to the close, being two movements from Franz Liszt's "Faust," after Lenau.
21The Colonne concert at the Théâtre du Châtelet offered, among other things, Beethoven's eighth symphony, F major; Debussy's "Le Jet d'Eau," for voice and orchestra; "Impressions of Italy," by Charpentier (solo for viola, M. Monteux), "Serénade," "At the Fountain," "On Donkeys," "The Summit," "Naples"; "Le Desert," ode symphony, by Féliçien David, for voices, chorus and orchestra, 250 executants, under the direction of Edouard Colonne.
23Otto Goldschmidt, husband of Berthe Marx-Goldschmidt, the celebrated pianist, whose home is in Paris, is not in any way related to Otto Goldschmidt, who has just died in London. The Paris Otto Goldschmidt, a pianist and playwright, is manager of the Sarasate-Berthe Marx concert tournées, and is in the enjoyment of excellent health.
25Pablo de Sarasate, who, while playing the "Kreutzer" sonata with Carlos Sobrino, at a concert in Darmstadt recently, had an attack of bronchial asthma so severe that he was forced to relinquish his part in the evening's program, the concert, however, being completed with additional numbers played by Mr. Sobrino. On the following
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