Books › Musical Courier 1907-10-02: Vol 55 Iss 14, 1907 › scan 25
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Musical Courier 1907-10-02: Vol 55 Iss 14, 1907
69 lines. Read by computer on 24 September 2026. Printed page 26. See the scan on archive.org.
1PLANS FOR OPERA IN GERA AND ALTENBURG.
3Leipsic, September 8, 1907.
5An instructive view of smaller operatic organizations in Europe was obtained last week in an hour's interview with Hofrath Karl Kleemann, the industrious and talented composer-conductor of the Court Orchestra in Gera, Principality of Reuss. The principality has as its political and social head the now reigning Prince Heinrich XXIV, of Reuss, himself a gifted and prolific composer. Gera is the court city and the orchestra there is naturally under his eye. Since it would be immensely expensive to maintain a troupe of good singers for a permanent opera, and the prince is too good a musician to tolerate very bad opera, the solution for Gera has been that on a half dozen occasions each winter the grand opera ensemble of the Leipsic city theater has gone visiting for single performances. The distance is less than two hours by train. The Gera Orchestra has done the work under the Leipsic conductors, and as there was scarcely ever time for proper orchestral and ensemble rehearsal, the people of the smaller city have heard performances whose chief merit lay in the singing of the principal roles. Upon measuring the ensemble it was generally found to have too much slack.
7At a distance not so far as Leipsic lies the court city of Altenburg, with an opera of its own under the financing of the Duke of Altenburg. Since that city is of about the same size as Gera, of perhaps a half hundred thousand, one may infer that the permanent opera there has some of the qualities that Prince Heinrich, of Reuss, did not think he would care for. Of course, Altenburg occasionally calls a guest to help out in special performances, and as those orchestras of forty to sixty men are well routed, it could be much worse. But the natural difficulties of the enterprise and Gera's unwillingness even to attempt it, have led to the suggestion that the available financial resources of both cities be combined to make one opera ensemble that the Reuss prince would care for, playing three months in one city and three months in the other. In this connection Herr Kleemann said that it would be against his judgment to move the opera back and forth for week stands, as time would be lost that were better used for rehearsals. But he thought that the increased service to the public and their better interest in the whole proceeding would give the proposition a much easier financial solution than now.
9As Gera is thus seen to be without opera of its own, this leaves the principal work of the Court Orchestra of sixty good men to consist of the playing of six symphony concerts under the nominal arrangement of the music verein (established 1852) and five symphony concerts for the people, wherein any one to whom a ticket is sent pays only a couple of cents for its privileges. The last are under the management of the city. For the verein concerts it is aimed to bring soloists of Continental reputation, but the people's concerts have not been granted the soloist luxury other than members of the orchestra. The verein had thought visiting soloists for the people's series might prove to be direct larceny of whatever musical thunder was thought available for Gera. The verein has bills to pay and is not inviting competition. Whether anything ever comes of the project to unite the Gera and Altenburg finances for a mutual opera remains to be seen.
11While considering the musical resources of Gera and Altenburg it is appropriate to observe that there are a number of most thorough musicians among them. Prince Heinrich himself is credited with three symphonies, a sonata, a string quartet, a quintet, a sextet, an octet, a mass and many songs. Nikisch produced one of his symphonies in the Gewandhaus some years ago, and the Gera Orchestra played one of them last season. Conductor Kleemann has in the repertory of the Dessau Court Theater an opera called "The Cloister Student of Mildfurth," and he has written two symphonies, a symphonic fantaisie, piano works, choruses, songs and incidental orchestral music to Grillparzer's drama, "Life Is a Dream."
13Dr. Georg Göhler, who conducted the Altenburg opera for the last two years, was also conductor of the Leipsic Riedel Verein since 1898, until his recent resignation to take the Court Opera at Karlsruhe. He has a symphony, a tragic overture, an orchestral suite, choruses, songs and other works. Had it not been for Altenburg he might not have obtained the routine which has already successfully launched him in his new and responsible post.
15The Gera Orchestra has, in its solo clarinetist, Henri Melotte, whom, Conductor Kleemann says, is a most capable soloist, also a busy composer. Melotte has written two concertos for his instrument, a light opera, and a sinfonietta for wind instruments, harp and kettledrums. This sinfonietta was recently heard at Bad Elster in its first public performance, and it was reported upon in this correspondence. This is not great music, but it has practical value, and the same is to be said of the concertos for clarinet.
17The current week's opera at the new city theater in Leipsic includes the "Flying Dutchman," given on Sunday, September 15; the "Marriage of Figaro," on Tuesday; Nicolai's "Merry Wives of Windsor," on Wednesday; Kreutzer's "Nachtlager in Grenada," on Friday, and Verdi's "Aida" for Sunday. During the same period the old city theater has Hartmann's operetta, "Poussierschlössl," on Sunday; "The Merry Widow," Monday; "Farinelli," Wednesday; "The Merry Widow," Thursday; also "The Merry Widow" Saturday evening and Sunday afternoon. The other evenings at each theater are given up to drama and comedy. The "Flying Dutchman" rendition on Sunday evening was truly stirring. The regisseur Wymetal had made a new stage setting, the title part was sung by Walter Soomer; Jenny Osborn Hannah was the Senta, and Jacques Urbus the Erik. The weak point was the "Deland," sung by Herr Rapp, who has a good voice, but is an unmusical singer. Soomer presents this role with such great character and imposing vocal material that it is hard to imagine one to surpass him. On the other hand, Mrs. Hannah has grown so truly into the ideal character of Senta and is exercising so great vocal art as to make her work imposing in its fineness and in its musicianship. Her voice, considered purely as an organ, is continually gaining in beauty and individuality, so that no admirer of vocal art can go away from her performance as Senta without feelings of deepest respect and the memory of having heard something entirely beautiful.
19The combined male singing societies under Barnet Licht gave their first concert of the season in the large Central Theater Hall, September 15, with the solo assistance of the cellist, Leo Sachs. Mozart's "Dedication to Song," Storch's "Nachtzauber," Podbertsky's "Tief ist die Mühl verschneit" and "Die Spinnerin," Langentreu's "Am Grenzwall," Rietz's "Morning Song," Wohlgemuth's "Stilles Thal," Jüngst's "Tik e tik e tok," and Russian folk song, and Uthmann's "Storm" were the numbers sung. The two hundred or more of singers here were drawn from four of the Leipsic suburbs, and though very intelligent, it is doubtful if any among them are practicing musicians. On this account, it is noteworthy to observe how much of musical style and all around merit had been brought into their interpretations. Wherever there was a part for solo voice that was also delivered commendably. Mr. Licht is not only entitled to much credit for routine of medium material, but he has those qualities as conductor which keep the attention of his men, with the satisfactory results stated. Mr. Sachs played a fantaisie by Servais and pieces by Popper. He plays much more musically than the average cellist, and without those exasperating mannerisms of stress and crescendo which make many cellists public nuisances. Mr. Licht was for some years in New York, where he was vice conductor of the Halevy Singing Society under Leon Kramer.
21Word is received here that the three act opera, "Corregidor," by Conductor Alfred Ernst, of St. Louis, has been accepted for first performance late in February by the city opera forces at Halle. The necessary translations are by Mrs. Ernst, who is said to have done the work exceedingly well.
23At Iffley Church, near Oxford, England, on September 9, occurred the wedding of Gertrude Theresa Weaving, of Iffley, and Albert E. Osborne, a native of Mason City, Ia., but for ten years a resident of Leipsic.
25Mr. and Mrs. Osborne were both pupils of Hans Backer, of the violin faculty of Leipsic Conservatory, and in recent years Mr. Osborne has prepared many pupils for Becker, as he still continues to do. He also busies himself as a private teacher of theory and in both of these branches he is giving really valuable instruction. Mr. and Mrs. Osborne have taken a pleasant apartment at 12 Hardenbergstrasse, and are already enjoying the traditional bliss of their own hearth, all of which pleases their many friends on two continents.
27EUGENE E. SIMPSON.
29Madame Van Dyk Engaged for Opera in Prague.
31Madame Van Dyk, the Dutch prima donna, who is to make her reappearance with Macmillen at Carnegie Hall next Sunday night, has been engaged by Neumann to sing the leading soprano roles at the opera in Prague. The singer will make the tour with the violinist this season before entering upon her engagement in the Bohemian capital.
33MAUD LEE BISSELL, TALENTED PIANIST.
35Maud Lee Bissell, although a young artist, is gaining a reputation in the East, where she has played successfully both in recital and with orchestra. Under the management of J. E. Francke, of New York City, she will, this season, fill engagements throughout New York, Ohio and Pennsylvania. The press has commented upon her versatility, artistic temperament and pleasing manner. Some idea of her repertory will be gained from this recital program:
37Toccata and Fugue, D minor, …………………Bach-Tausig
38Sonata, op. 27, No. 1, ………………………..Beethoven
39Warum ……………………………………………..Schumann
40Gavotte ……………………………………………..Sapelnikoff
41To a Water Lily ………………………………….MacDowell
42Arabesque …………………………………………Debussy
43Valse-Caprice …………………………………….Strauss-Philipp
44Scherzo, B flat minor …………………………..Chopin
45Berceuse ……………………………………………..Chopin
46Fantaisie Impromptu ……………………………Chopin
47Etude (Double Notes) ………………………….Chopin
48Venezia E Napoli-Tarantella …………………Liszt
50Notable engagements last spring, for Mrs. Bissell, included an appearance with the Rochester Symphony Orchestra in Beethoven's "Emperor" concerto. The following criticisms are from the Rochester papers:
52Her composer, her accuracy of rhythm, her execution of the brilliant passages and her unerring entrances are entitled to high commendation. She is an artist who has received high praise from the critics for fine technic and sympathetic interpretation.—Rochester Democrat and Chronicle.
54The Rochester Symphony Orchestra closed its season at the Lyceum Theater last night with the most enjoyable concert the organization has ever given, and it was heard by the largest audience that has attended any of the orchestra's performances. Soloists of the evening were Maud Lee Bissell, pianist, and Watkin Mills, basso.—Rochester Union and Advertiser.
56Grace G. Gardner Greeted in Her Native State.
58Grace C. Gardner has returned to New York City from an interesting summer passed in Ohio, her native State. Miss Gardner has resumed teaching at her vocal studio, 36 West Twenty-fifth street. While in her home in the southern part of the Buckeye State Miss Gardner sang a number of her own compositions at one of the Ohio Chautauquas, illustrating each song by a short descriptive talk. On September 5 Miss Gardner sang at a "Home Coming" concert in Columbus, before an audience of 5,000 people. She was warmly greeted. The following press opinions tell of Miss Gardner's success:
60Those who were present at the Chautauqua Assembly last Friday afternoon will not soon forget the rare treat given them by Grace G. Gardner. She rendered three songs, her own compositions. Not only the music, but also the words of these wonderfully melodious and artistic songs, are her own creations. We hear on all sides expressions of the high appreciation of her rare versatility and the brilliancy of her genius.—Greenville (Ohio) Republican, August 7, 1907.
62Grace G. Gardner won most appreciative applause through her singing of four of her own songs, all graceful and melodious.—Ohio State Journal, September 6, 1907.
64Grace G. Gardner, the singer, poet-composer, who assisted at our "Home Coming" concert, an Ohio musician who has won reputation as an artist in Europe and America, is now recognized as a composer of charming descriptive songs. "The Water Nymphs" (all of the Wagnerian school); "The Path Across the Mountain," unique in mountainous calls and tinkling sheep bells; "Spring," rippling with gladness, and "Summer," in waltz measure, has the breath of love and roses. Miss Gardner's style is strong, versatile and musical. Her compositions are born to live.—Columbus Sunday Dispatch, September 15, 1907.
66New Musical Play.
68A new musical play, of which the name has not yet been given out, was written this summer and will be produced in December. The music is by John Philip Sousa and the libretto by Leonard Liebling.
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