Scan 7
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
56 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.
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.
1THE MUSICAL COURIER
3LEIPZIG, January 26, 1910.
5The sixteenth Gewandhaus program, under Arthur Nikisch, has Wagner's "Huldigungsmarsch"; the Saint-Saëns C minor piano concerto, played by Raoul Pugno; four movements from Mozart's "Haffner" orchestral serenade in D major; the Schumann "Faschingsschwank" for piano solo, and the Richard Strauss "Symphonia Domestica." Whatever may be the complexion of the program, judged by its mottled list of old and new composers, the works themselves are remarkably even in class. If the Wagner march is not one of that composer's stronger works, the Mozart serenade turns up as a raging modern, especially in view of the brilliant violin solo obligato in the andante, very impressively played by Concertmaster Wollgandt. As to Strauss and Saint-Saëns, they could toss for honors on the intrinsic weight of their works here played, but Strauss would be otherwise entitled to preference on the larger size of his very successful score. The prize on the entire concert is thus left to Schumann, whose "Faschingsschwank" is very fine music. At the end of the orchestral score to the domestic symphony, Strauss wrote "Charlottenburg, December 31, 1903." He must have begun work on the opera "Salome" while the first section of the symphony was still ringing in his ears, for many of the orchestral earmarks of the later "Salome" are found here, besides very much of the spirit of the "Salome" music. But for the general unconstitutionality of laws ex post facto, and the probability that music is never any too true in portraying persons, one would be thus allowed to believe that a Salome had been around the Strauss household for a long time. There would then be a question as to whether or not Mrs. Strauss ever knew about it. However that may be, the music, both of the symphony and the opera, are generally beautiful, and that was always true, even of the opera. For corroboration, look up THE MUSICAL COURIER files of June, 1906, for Leipsic letters on the very first hearings. For dissenting opinions, look up the newspaper reports of most of the other writers in territory "devastated" by "Salome." It was an unpardonable mistake for them to fall into so great terror of a new work by a composer so unfailingly lyric as Strauss, and as he consistently remained in the "Salome" music. The "Symphonia Domestica" has some especially beautiful music in the first section and again in the love scene of the adagio. But seven years are already sufficient to show age in parts of the composition. There are a number of dreamy, rambling episodes which would now be as well or better conceived by some of Strauss' young and gifted imitators. The supposedly weird program effects strung along through parts of the symphony are comparatively mild and harmless in the refined playing by Arthur Nikisch and this splendid orchestra. Pugno played the Saint-Saëns concerto impressively in the first section and did all that was possible to hold the other section to the rank of good music, but age tells on the concerto too. There are episodes in it none too strongly conceived. When will composers ever attain the ideal of the "one horse shay"? That would be an ideal topic for a symphonic poem, with every part as strong as all the rest.
7The Leipsic City Opera is preparing the Strauss "Electra" for performance in early February. The repertory from January 24 showed Millöcker's "Glöckchen des Eremiten," "Mignon," "Barbier von Bagdad," and for Sun- one of two readings
8The Leipsic City Opera is preparing the Strauss "Electra" for performance in early February. The repertory day, d'Albert's "Tiefland." During the same week the opera at Halle brings "Martha," "Flying Dutchman," "Versiegelt" and "Barber of Seville." Altenburg brought "Carmen" and "Barber of Seville," Weimar's "Zar und Zimmermann," "Fatinitza," "Rheingold" and "Walküre." The smaller opera at Gera only brought Halevy's "Jewess," dramatic and comedy works and mixed programs. Koburg brought "Daughter of the Regiment" and "Fra Diavolo," besides Mrs. Nikisch's fairy operetta of "Prinz Adolar and Tausendschönchen." The opera in Dessau was also producing the same work by Mrs. Nikisch, and "Die Meistersinger," "L'Africaine" and "Tiefland." one of two readings
10Among the many St. Petersburg programs of jubilee and birthday celebration for composer Cesar Cui, the one held in the small hall of the conservatory on January 19 was one of the most characteristic and complete. The Mecklenburg Quartet (Kocian, Krantz, Bornemann, Butkewitch) played the composer's C minor string quartet, op. 45. Then came a D major cantabile and an "Oriental," for cello (played by Vershibilowitch); cantabile and cavatina from the violin "Suite concertante" (Achron); piano preludes in G minor, E major, G sharp minor from the "25 Preludes" (Kimont-Yantzina); four groups of solo songs, sung by as many different artists (Zsherebtzova-Andreeff, N. N. K—, N. N. Figner and C. N. Gladky); vocal quartets a capella, sung by Mmes. Zopuevy, Kavalenko and Messrs. Alexandrowitch and Fillipoff. Glazounow made a brief address and many telegrams of congratulation were received by the venerable composer. The fifth symphony program under Alexander Siloti's own direction had the orchestral fantaisie "Feurwerk," by I. F. Stravinsky; S. N. Vassilenky's orchestral fantaisie "Witch's Flight," under the composer's direction; the Schumann cello concerto and solo pieces by Bruch and Glazounow, played by Pablo Casals; the symphony by Ernst Chausson. In Moscow Wanda Landowska played on the cembalo a recital to comprise Scarlatti's E major sonata, an A minor by Ph. E. Bach, Haydn E flat, and Mozart D major. There were also J. S. Bach's C minor fantaisie and English suite, Couperin's "Les Calotins" and John Bull's "Les Bouffons." The critic, J. Engel, of the "Russky Vedomosti," was delighted with the entire performance, and particularly pleased that the artist had taken great trouble to procure original editions of the compositions instead of following Tausig, Von Bülow, Liszt and other revisions. one of two readings
12WANDA LANDOWSKA AND HER CLAVIER.
14day, d'Albert's "Tiefland." During the same week the opera at Halle brings "Martha," "Flying Dutchman," "Versiegelt" and "Barber of Seville." Altenburg brought "Carmen" and "Barber of Seville," Weimar's "Zar und Zimmermann," "Fatinitza," "Rheingold" and "Walküre." The smaller opera at Gera only brought Halevy's "Jewess," dramatic and comedy works and mixed programs. Koburg brought "Daughter of the Regiment" and "Fra Diavolo," besides Mrs. Nikisch's fairy operetta of "Prinz Adolar and Tausendschönchen." The opera in Dessau was also producing the same work by Mrs. Nikisch, and "Die Meistersinger," "L'Africaine" and "Tiefland." one of two readings
15from January 24 showed Millöcker's "Glöckchen des Eremiten," "Mignon," "Barbier von Bagdad," and for Sun- one of two readings
17Among the many St. Petersburg programs of jubilee and birthday celebration for composer Cesar Cui, the one held in the small hall of the conservatory on January 19 was one of the most characteristic and complete. The Mecklenburg Quartet (Kocian, Krantz, Bornemann, Butkewitch) played the composer's C minor string quartet, op. 45. Then came a D major cantabile and an "Oriental," for cello (played by Vershibilowitch); cantabile and cavatina from the violin "Suite concertante" (Achron); piano preludes in G minor, E major, G sharp minor from the "25 Preludes" (Kimont-Yantzina); four groups of solo songs, sung by as many different artists (Zsherebtzova-Andrereff, N. N. K—, N. N. Figner and C. N. Gladky); vocal quartets a capella, sung by Mmes. Zopuevy, Kavalenko and Messrs. Alexandrowitch and Fillipoff. Glazounow made a brief address and many telegrams of congratulation were received by the venerable composer. The fifth symphony program under Alexander Siloti's own direction had the orchestral fantaisie "Feurwerk," by I. F. Stravinsky; S. N. Vassilenky's orchestral fantaisie "Witch's Flight," under the composer's direction; the Schumann cello concerto and solo pieces by Bruch and Glazounow, played by Pablo Casals; the symphony by Ernst Chausson. In Moscow Wanda Landowska played on the cembalo a recital to comprise Scarlatti's E major sonata, an A minor by Ph. E. Bach, Haydn E flat, and Mozart D major. There were also J. S. Bach's C minor fantaisie and English suite, Couperin's "Les Calotins" and John Bull's "Les Bouffons." The critic, J. Engel, of the "Russky Vedomosti," was delighted with the entire performance, and particularly pleased that the artist had taken great trouble to procure original editions of the compositions instead of following Tausig, Von Bülow, Liszt and other revisions. one of two readings
18College of Music of Cincinnati one of two readings
19The School with the Highest Artistic Standards one of two readings
20LOCATED NEXT TO GREAT MUSIC HALL one of two readings
21Offering every advantage for musical and dramatic culture with Courses in all branches. Eminent teachers. College has its own Orchestra, Chorus, School of Opera, String Quartet, also Theater and Concert Hall. Write for full catalog and Booklet C. I., telling of splendid positions now held by former pupils. one of two readings
22A. J. GANTVOORT, Mgr. one of two readings
23College of Music of Cincinnati, one of two readings
24Cincinnati, O. one of two readings
26The last two student programs at Leipsic Conservatory before the beginning of the annual public examinations were those of January 7 and January 14. The former had only a movement from the Beethoven B flat piano concerto, played by Frl. Block; Chopin and Schumann piano pieces, Herr Gus, and the Reinecke F sharp minor piano concerto, played by Hoefer. Both concertos had accompaniment of the student orchestra under Sitt. The one of two readings
27ALICE PRESTON one of two readings
28SOPRANO one of two readings
29Concerts, Recitals. one of two readings
30For Terms and Dates Address: MRS. FARRINGTON-SMITH, Tuxedo Park, N. Y. Telephone, Tuxedo 34 one of two readings
32MYRON W. WHITNEY, Jr. one of two readings
33BASSO one of two readings
34Available for Oratorio, Concerts, Recitals one of two readings
35MANAGEMENT: one of two readings
36R. E. JOHNSTON, St. James Building, Broadway and 26th Street, New York one of two readings
38PAUL KÉFER one of two readings
39CONCERT CELLIST one of two readings
40First Cellist of the New York Symphony Orchestra one of two readings
41PUPILS ACCEPTED one of two readings
42For Bookings Address: W. R. ANDERSON, 5 West 38th Street, New York one of two readings
44de SEGUROLA one of two readings
45BASSO CANTANTE one of two readings
46Metropolitan Opera House one of two readings
47For Concerts and Recitals, Address: one of two readings
48Metropolitan Opera House one of two readings
49NEW YORK one of two readings
51JOSÉPH MALKIN one of two readings
52The Great RUSSIAN CELLIST one of two readings
53SEASON 1909-10 one of two readings
54Management R. E. JOHNSTON one of two readings
55St. James Bldg., 1133 Broadway one of two readings
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