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Musical Courier 1908-04-01: Vol 56 Iss 14, 1908
29 lines. Read by computer on 24 September 2026. Printed page 7. See the scan on archive.org.
1MUSIC IN PARIS
3[Artists contemplating American engagements can secure valuable practical advice by consulting Mr. Delma-Heide, Paris representative of The Musical Courier.]
514 RUE LINCOLN, AVENUE DES CHAMPS-ÉLYSÉES,
6CABLE AND TELEGRAPHIC ADDRESS, "DELMACHEIDE," PARIS, March 16, 1908.
8Notice.—Like the home offices in New York of The Musical Courier, the Paris branch of the paper has outgrown its present quarters and will be removed shortly to larger and more commodious offices, remaining, however, in the beautiful Champs Elysées district.
10Yesterday's Colonne concert at the Châtelet was again one of great interest to seekers of musical novelties, the program presented by Monsieur Colonne containing several compositions heard here for the first time. Among these were a "Rhapsodie Espagnole" by Maurice Ravel in four characteristic movements: (1) Prélude à la nuit; (2) Malagueña; (3) Habanera; (4) Feria; "Le Nuit de Noël" (an opera), recitative and aria of Oxana; and "Snégourotchka" (opera), two airs of the "Snégourotchka," both operas by the Russian composer Rimsky-Korsakow, the soloist being Mme. A. de Wieniawski. During the performance of the Spanish rhapsody there was evidently much interest and curiosity aroused, the audience—at any rate, in the upper part of the house—being divided into two camps, pro and con, and commingled with the lively applause after each movement more or less hissing was indulged in, with cries by one party or the other for a "bis" (repetition) or a refusal to hear the number again. A "bis" of the serenade, second movement, was effected by a man in the gallery yelling at the top of his voice for a repetition, on the ground that "the audience below had evidently not understood (the music). (!)" Such scenes, which take place almost every Sunday at these concerts, are sometimes wonderfully enlivening and amusing; but they generally prove to be a nuisance and ought to be suppressed. In the first movement of the rhapsody is an ever recurring little figure of four descending tones (F, E, D, C sharp), heard continually and persistently until it becomes weird and haunting; from time to time, too, this same little figure reappears in the second and third movements. The last movement, the Foria, contains various sounds of animals that are curious and fun provoking; the scene is evidently a "fair" and the festivity ends in dancing. It is all splendid fun and cleverly done. Of the two Russian operas "Snégourotchka" is now in preparation and active rehearsal at the Paris Opéra Comique, where it is soon to be produced. The arias sung by Mme. de Wieniawski yesterday were in Russian. The singer's voice is not a large one, but is of agreeable quality and used with exquisite taste. The brilliant overture to "Le Roi d'Ys" (Lalo) opened the concert, after which the audience settled back to dream in the Schubert melodies of heavenly length contained in his "unfinished" symphony. Besides the "novelties" already mentioned, we heard for the first time at Colonne's a fine "ballade" of Gabriel Fauré for piano and orchestra, which was beautifully played by Alfred Cortot, who also performed the "Symphonic Variations" of César Franck for piano and orchestra in a manner disarming all criticism. The "Tannhäuser" march brought the concert to a close.
12At the sixteenth and last subscription concert of the "Soirées d'Art," given at the Salle des Agriculteurs on Saturday, with a varied program and before a crowded house, the Trio Kellert (three brothers, Raphael, Michael and Charles) were heard to excellent advantage in two trios and several soli contributions. The concerted numbers were the Schubert trio in B flat and the other by Beethoven, op. 70, in D, in which the young brothers displayed good ensemble and "keeping together" qualities; healthy conception of the music, not marred by sentimental adornments, and possessed of first rate interpretative gifts full of promise. As solo contributions the violinist offered Lalo's "Symphonie Espagnole," and the cellist performed two movements from the Haydn concerto for his instrument. Both the soloists met with splendid recognition. The Kellert brothers have played much in Paris salons this winter, and may soon undertake a concert tournée.
14Last Tuesday's Philharmonique concert, which closed the season of subscription nights, was given in form of a "Festival César Franck," supported by the orchestra and the chorus of the Colonne Association, under direction of Ed. Colonne, with the soloists: Madame Mellot-Joubert, soprano; Charles W. Clark baritone (just returned from his tour of America); Louis Vierne, organist; Alfred Cortot, pianist; Eugène Wagner, accompanist. The program, which was devoted entirely to César Franck, contained his cantabile and "Pièce Héroïque" for organ, variations symphoniques for piano and orchestra, nocturne and "La Procession" for soprano; "Rebecca" (Biblical scene), Madame Mellot-Joubert and Charles W. Clark; "Psalm 150" for chorus, organ and orchestra. Mr. Clark's many friends were glad to welcome him back to the Ville Lumière, and happy to see him looking so well.
16Disappointed in love, Maria Luisa Pertusio, a young violinist, committed suicide in a cab at Nice a few days ago by shooting herself.
18Among future happenings, I omitted last week to mention a so called "Russian Festival," which will take place at the Paris Grand Opéra in May, consisting of six representations of "Boris Godounov," opera in four acts by Moussorgsky, with Mmes. Félix Litvinne and Petrenko; and MM. Chaliapine, Smirnow, etc.; chorus from the Imperial Opera of Moscow, under direction of Félix Blumenfeld, of the Imperial Opera at St. Petersburg. Messrs. E. Rey & Cie. are said to be managers for the enterprise.
20Owing to the great number of interested people attending, Monsieur et Madame Jules Chevallier gave their last "audition" in the magnificent salons of Mme. Jacques Rouché, in the Rue d'Offémont, nearly opposite their own home studios. The program was devoted to vocal works of Gabriel Grollez, set to music on a collective series of ten poems by Henry Bataille, entitled "La Chambre blanche," and accompanied by the composer; works of Henry Février, on poems of Maurice Maeterlinck, likewise accompanied by the composer; between these two sets was heard "Ecstase," an aria from Mozart's "L'Enlèvement au Séрай," sung with an easily responding voice by Louise Hunebelle, and accompanied by M. Chevallier. The second part of the program was dedicated to compositions by Bach, including a cello sonata with piano by Georges Pitsch and Eugène Wagner; a well sung aria from the "Passion According to St. Mathieu," by Mme. Paul Rodier; Madeleine Chevallier's own aria, "Gloire à Dieu" (Jauchzet Gott), and an "Easter Cantata" for soli and vocal quartet, in which M. and Madame Chevallier took part, brought the afternoon's music to a close. The different pupils and advanced singers taking part in this recital demonstrated the excellence of their tuition and were a credit alike to themselves and their professors.
22Marcel Chailley, the well known violinist, recently performed at his concert, given at the Salle Erard, a sonata of Leclair in D; "Rhapsodie Piémontaise," by Sinigaglia; "Humoreske," of Dvorák, and a mazurka by Zarzicki; besides the Saint-Saëns quartet in E minor, in which his associates were MM. Gravrand, Jürgensen and Schidenhelm.
24Another singing teacher inviting critical attention to her work during the last week was Olga de Nevosky, a pupil of Francesco Lamperti, whose method she professes to impart. Besides her pupils, Madame de Nevosky had the concours of Théodore Dubois, composer-conductor; M. Barbirilli, composer-accompanist; Maxime Thomas, cello; Mlle. d'Issoncourt, piano; M. Tinlot, violin; J. S. Hansen, flute; Henri Gaisser, singer. The program was composed of soli and concerted numbers, including works by Alfredo Barbirilli, interpreted by Olga de Nevosky, whose artistic singing created a decidedly favorable impression; by her brilliant soprano pupil, Bessie Mark, of New York, and Lascome Wallis, a gifted English contralto, and the talented young violinist, M. Tinlot, accompanied by the composer. The "Rigoletto" quartet (Madame de Nevosky, Mlle. Wallis, Lascome Wallis and M. Barbirilli) was among the selections greatly admired and applauded, and the various instrumental contributions should not be overlooked. This long concert ended with a performance of Théodore Dubois' "L'Enlèvement de Proserpine," a lyric scene for soli, chorus and orchestra, conducted by the composer. Among the pupils of Madame de Nevosky de-
26GIRAUDET
27VOICE SINGING OPERA
28Rue Eugène Manuel 20, Paris
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