Books › Musical Courier 1909-03-17: Vol 58 Iss 11, 1909 › scan 15
Scan 15
Musical Courier 1909-03-17: Vol 58 Iss 11, 1909
50 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 16. 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.
1Vienna one of two readings
2(no line here) one of two readings
3Vienna, February 15, 1909.
4(no line here) one of two readings
6After the ebb in concerts brought about by the Christmas and New Year's holidays, a perfect flood of musical entertainments broke forth in January. Including operettas, there are at present eight theaters in Vienna affording nightly musical entertainments; then there are on an average four or five concerts daily, without counting the so called popular concerts, the programs of which consist of good music.
8The most important musical event during the last four weeks was beyond doubt Amalia Materna's farewell to the Vienna public—a final retirement from public work of one of the greatest vocal artists of all times. The wonderful, noble art of this, the Wagner singer par excellence, the first Bayreuth Brünnhilde and Kundry in the years 1876 and 1882, was heard once more in concert, and from now on she will confine herself to teaching only. She appeared in the "Musikvereinsgebäude" in the same hall where thirty-four years ago, under Richard Wagner's own leadership, she sang Brünnhilde's final number from the "Götterdämmerung" on the occasion of its very first performance; and again this time, as a white haired matron, with the same exalted inspiration of the master, she aroused in her listeners frenetic enthusiasm. She retired from the stage thirteen years ago. Her glorious voice sounded with all its old time power and fullness and, in deed, in point of absolute beauty of tone this mistress of song is even today unequalled, much less excelled. Such breadth and power of expression united to such vocal art cannot be found today anywhere else. Thus the great artist at her farewell appearance gave an exhibition of Wagner singing in style and in declamation such as the master himself taught, and through her we have the living tradition. Materna's art is conclusive proof of the falsity of the old exploded saying that Wagner ruins the voice: her former colleagues, as Betz, Scaria, Winkelmann, Vogel, Sucher, Lehmann, etc., have long since done the same. Materna's principal roles were Brünnhilde, Elizabeth, Ortrud, Isolde, Fidelio, Donna Anna, Aida, Valentine and Selika. The deeds of this vocal tragedienne are written on the pages of musical history in letters of gold, and those who were so fortunate as to hear her on the stage will forever cherish the memory of her art.
10A large number of novelties have been heard in concert, yet there was scarcely one that made a deep impression, while fully half of them were not even worth mentioning. Glazounow's fifth symphony, in B flat major, was performed in the fifth Philharmonic concert under Weingartner, and, thanks to its brilliant interpretation, it found favor with a part of the public. A work of value is Edward Elgar's A flat symphony, which was brought out by the Concertverein, under Ferdinand Loewe. This Englishman speaks, in tones, the selected language of an educated gentleman, without, however, appealing to the heart—at least, with us here; yet one listens to him with respect and interest. The zealous Concertverein also made us acquainted with Max Reger's violin concerto in A major, op. 101, which bristles with difficulties but was played by Henri Marteau in a masterly manner; also with Heinrich G. Noren's "Kaleidoscope" variations for orchestra—a work full of esprit and interest from the standpoint of counterpoint and color. The sixth Philharmonic concert, under Weingartner, was a most enjoyable, artistic affair, as it brought Beethoven's "Pastorale" symphony, Wagner's "Faust" overture, and Hugo Wolf's delightful "Italian" serenade. These works were rendered with rare brilliancy and finish.
12At the Royal Opera the second novelty of the season was brought out, the opera, "The Vagabond," by the French composer, Xavier Leroux, who is a pupil of Massenet. In spite of a good performance, it proved to be a dismal failure. The libretto is taken from Jean Richepin's "Le Chemineau"; the drama of itself is very ineffective, but it has been made much more so in the libretto. The music is a little better, but it is too weak in invention and too uninteresting to redeem the feeble subject.
14The Volksoper introduced Umberto Giordano's music drama, "Andre Chenier," which, although it was written twelve years ago, was quite new to us in Vienna. This novelty, too, had a very meager success, though certain scenes made a pleasing impression. The performance itself was most praiseworthy. It is interesting that our stages are now reviving the works of Franz van Suppé, the Viennese master-creator of operettas; this, "Donna Juanita," in the Carl Theater; "Fatinitza," in the Raimund Theater, and "Boccaccio" and the beautiful "Galathea," in the Volksoper, have had a merry resurrection.
16Finally, a decade after his death, the genius of Anton Bruckner has found recognition here. During the composer's life this recognition was denied him, through the opposition of narrow, pedantic and malicious criticism. We are coming more and more to the conviction that his symphonic creations are the most gigantic in the days since Beethoven and Schubert. His symphony in D minor, No. 3, was given by the Concertverein, and the one in E major, No. 7, by the Tonkünstlerverein; in both cases the listeners were deeply moved.
18At the second concert of the Gesellschaft der Musikfreunde was performed, for the first time, Gabriel Pierné's "The Children's Crusade," a musical legend in oratorio form. This treats of the well known historical episode of the thirteenth century, according to which a large number of children went forth to find the grave of Christ in Jerusalem. The composer reveals talent and skill, and he unites his noble musical themes in an effective whole. It was a happy idea of Pierné's to make use of children's choruses, which fitted admirably into the whole scheme. The performance was conducted by the composer in person, who had come over from Paris on purpose; he proved to be an excellent leader, and he was very enthusiastically applauded.
20Among the soloists who have appeared here during the past month, only those will be mentioned who have worldwide reputation: Ferruccio Busoni, who last year unfortunately was lost to us as principal of the Master School for Piano Playing, gave two concerts; these were quite wonderful affairs, and without going into detail on the
22THE MEHAN STUDIOS
23Mr. and Mrs. JOHN DENNIS MEHAN
24MR. JOHN BARNES WELLS, the Well-known Tenor, Chief Assistant.
25VOICE DEVELOPMENT AND ARTISTIC SINGING
26Season of 1908-09 begins
27THURSDAY, OCTOBER 1
28STUDIOS NOW OPEN DAILY FOR ENROLLMENT OF PUPILS. Circular upon application
29THE MEHAN STUDIOS
30Carnegie Hall, New York City
31ELEANOR McLELLAN
32TEACHER OF SINGING
33Atelier Building, 33 West 67th St., New York. Phone, 4225 Columbus
34Most prominent pupils now studying are: Daniel Beddoe, tenor; Tom Daniels, bass; Beatrice Fine, soprano; Edward Strong, tenor; Charles Kitchell, tenor; Aloysius Harding, contralto; Grace Munson, contralto; Suzanne Harvard, soprano; George French, contralto; William Weil, bass; Edwin Evans, baritone.
35New York College of Music
36128-130 East 58th Street
37(Formally ALEX. LAMBERT)
38Directors: Carl Hein, August Fraemcke
39Private instruction in Piano, Singing, Violin, Cello and all branches of music, by a faculty unsurpassed for its excellence.
40SPECIAL DEPARTMENT FOR BEGINNERS
41All instrumental and vocal students receive free instruction in harmony, counterpoint, vocal sight reading, ensemble playing and free admission to concerts, lectures, etc., etc.
42Students received daily Catalog sent on application
43THE GREAT VIOLINIST
44ASSISTED BY
45ALFRED CALZIN
46PIANIST
47In America, October to May
48Exclusive Management: HAENSEL & JONES
491 East 42d Street, New York
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