Scan 4
Musical Courier 1910-03-02: Vol 60 Iss 9, 1910
43 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 5. See the scan on archive.org.
1LONDON, England, February 12, 1910.
3With all the enthusiasm and ideals of youth and first endeavor, Brighton's second annual musical festival, under the direction of Joseph Sainton, conductor of the Brighton Municipal Orchestra, has come and gone, leaving the most pleasant and beneficial recollections. Interesting and successful from every point of view, the major portion of credit must be given to the indefatigable Mr. Sainton, who has worked heroically to accomplish some musical prominence for Brighton, which has proved to be rather a non-sympathetic municipality where the question of art concerns its being. Commercialism seems to rule rampantly in this delightful city by the sea, where its orchestral interests are centered, the value it has to the place in pounds, shillings, and even pence, cuts a much bigger figure than its value as a stimulating educational factor. So the discussion pro and con by the city fathers, their almost universally indifferent attitude, or active hostility, would have damped the spirit of most promoters. But on the strength of the masterful ability and executive power of Mr. Sainton's regime, a rather more humane forbearance was instituted, and the first year festival clearing expenses and the second year likewise, there is hope for the continued life of an art which though it may not be "worth a six pence" to the town in the estimation of some benighted Philistines, must have its worth and influence on the social life and culture of even the benighted ones themselves. And much talent there is right in Brighton. The ambition to do and the ability to accomplish was proven in the fine work of the chorus of 420 voices, all recruited from local sources, and the very competent orchestra, augmented by some extra London musicians for the festival, but having in itself the efficient nucleus.
5Of the artists engaged to conduct and interpret, all were of a much higher standard than that usually found at the festival, which, after copy of the grand opera system, usually brings forward one or two "stars" supported by a makeshift ensemble. Heading the list was Christian Sinding, the noted Norwegian composer, who made his first visit to England on this occasion to conduct his own symphony in D minor and his "Rondo Infinito."
7The English composers, by no means neglected, were represented by Sir Charles Stanford, whose "Ode to Discord" was played; S. Coleridge-Taylor's new work, "Endymion's Dream"; James Dear, who directed his new work for baritone solo and male chorus entitled "Songs of the Open Air"; Arthur Hervey, and his festival set of variations for orchestra, "Life Moods"; and the delightful "Cinderella" suite for orchestra by Dr. W. H. Speer; and also Edward German's symphonic suite, "The Seasons," conducted by the composer; besides Rutland Boughton's new symphony march, "Britannia." The spirit of modernity may easily be seen to pervade this repertory. As Mrs. Morice, writing in the Brighton Standard, says:
9It sounds iconoclastic to suggest that the festival committees of Norwich, Worcester, Hereford, Birmingham, Sheffield and the rest are inclined to handicap themselves unnecessarily by clinging too tenaciously to relics of the past. But the old-time oratorio, as a type, has undoubtedly passed quite out of fashion, and the Brighton Festival program instituted last night implies a tacit recognition of that fact.
11The list of artists engaged as interpreters included the following: Walter Hyde, Marie Brema, Robert Burnett, George Baker, S. Hampsell, Edith Evans, John Coates, Watkin Mills, Enid Gabell, Thorpe Bates, Madame Gleeson-White, Lilian Tree, Plunket Greene, Jean Waterston, Esta D'Argo, Marie Novello, Robert Charlesworth, Bynon Ayres, Daniel Paine. one of two readings
12The list of artists engaged as interpreters included the following: Walter Hyde, Marie Brema, Robert Burnett, George Baker, S. Hempsell, Edith Evans, John Coates, Watkin Mills, Enid Gabell, Thorpe Bates, Madame Gleeson-White, Lilian Tree, Plunket Greene, Jean Waterston, Esta D'Argo, Marie Novello, Robert Charlesworth, Bynon Ayres, Daniel Paine. one of two readings
14The opening concert, February 2, was given to the concert version in English of "Samson and Delilah." Saint-Saëns' work was sung in the Eugène Oudin translation in the most commendable fashion by the chorus and soloists, under the baton of Joseph Sainton. Composed almost entirely of young, fresh voices, the effects were of a quality of tone, and nicety of nuance, to call for special comment. Notwithstanding the very poor arrangement for placing the various sections of the chorus, necessitated by the circular formation of the dome, the amalgamation of tone was still a thing to notice for its quality and timbre. In the chorus of the "Philistine Maidens," the first sopranos were beyond reproach in exquisite coloring and exact precision. Marie Brema and Walter Hyde were the principal artists.
16The second concert, on February 3, was a miscellaneous program, containing overture to "The Flying Dutchman," and the second act, in concert version; also the overture to "Die Meistersinger." The first performance of S. Coleridge-Taylor's contata, "The Legend of Endymion," was conducted by the composer on this occasion, and some miscellaneous songs were heard. Built upon the legend of the old Grecian tale of the love spell cast on the beautiful youth Endymion by the mood goddess Selene, this latest work of Mr. Coleridge-Taylor is perhaps the best thing he has offered the public. Modern in its spirit of orchestration, dramatic and containing melodic charm of much beauty in its solo numbers, it bids fair to increase the composer's reputation along the serious line. The soloists were Edith Evans and John Coates.
18Friday's concert was also composed of a varied program. Verdi's "Requiem" was sung with Madame Gleeson-White, Lilian Tree, John Coates and Watkin Mills. The chorus was not quite so sure of its intonation in this work and excepting Mr. Mills the solos were very, perfunctorily given. Another work that failed to impress in the manner in which it was meant to impress, was Sir Charles V. Stanford's "Ode to Discord." It is very well to travesty the "advanced moderns," but their underlying thought must first be fully understood before a burlesque carries any weight of artistic conviction. It may be amusing to the masses but it is not good musical taste according to me at least, or ethically good form to offer this hasheesh to the general public. Dr. Stanford conducted in person.
20Saturday was given over to the Paderewski symphony, Christian Sinding's "Rondo Infinito," and Edward German's "Spring" suite, and Dr. Speer's "Cinderella," all heard at the afternoon concert, and in the evening the Sinding symphony and the concert version of "Cavalleria Rusticana." Of the Sinding symphony one may say that it contains all the beauty of melodic outline and color and rugged atmosphere of the northern country of Dr. Sinding, and it is orchestrated with all the finesse and refinement of orchestral combinations that distinguish other and better known works of this composer. The rondo is also of a very fascinating character. This composition was given in America by the Boston Symphony Orchestra under Max Fiedler, who wrote to the composer in enthusiastic terms of its interesting and effective charm.
22A very interesting personality is Christian Sinding, who lives most of the time in Berlin, but seeks the country every summer where he finds inspiration for his work in composition. Asked what he thought of the modern school as represented by Richard Strauss and his "Elektra," Mr. Sinding said to the writer: "Wonderful, Strauss is a magician; I am a great admirer of Richard Strauss and his great ideas." Mr. Sinding goes direct to Odessa, from Brighton, where he will conduct a whole program of his compositions with the Imperial Orchestra.
24Every pianist knows Sinding's "Rustle of Spring," which has made a fortune for the publishers, but next to nothing for the composer who sold it along with several other opus numbers of the same issue years ago.
26The Dome, though certain historic and romantic associations make it a place of uncommon interest, is not a good concert room, either for its acoustic properties or in its seating arrangements. Circular in form and with a capacity for accommodating nearly 3,000, it is one of the show places of the town. Once the royal stables of George IV, it was long ago transformed into a concert hall. Leading from the Dome is an underground tunnel to the 'Pavilion,' which is but second to the dome in its interesting "past." Small social affairs are held here, informal musicales, and much of the entertaining of the Brightonians is carried on in its once elaborate and richly furnished rooms, now entirely dismantled except for some magnificent chandeliers which still lend beauty to the barren rooms.
28There is no gainsaying the tremendous amount of interest the Thomas Beecham season of grand opera at Covent Garden is awakening. The repertory of opera offered appeals to music lovers and public alike, and the list of singers includes many young fresh voices. Rehearsals are now being held every day and the season is shaping itself artistically and financially in the most encouraging manner. Covent Garden is entirely sold out for the first three performances of "Elektra." Mr. Beecham will conduct the opening night, and the composer two, at least, of the promised five performances. The extension of the Beecham opera season means the engaging of many more artists and the production of further novelties, the full particulars of which will be shortly announced.
30Godowsky will play the following program at his Chopin centenary program to be given in Queen's Hall, February 22:
32Sonata in B flat minor (op. 35).
33Fantaisie in F minor (op. 49).
34Ballade in G minor (op. 23).
35Nocturne in G (op. 37).
36Scherzo in B minor (op. 20).
37Mazurka in F sharp minor (op. 59).
38Waltz in G flat (op. 70).
39Polonaise in F sharp minor (op. 44).
40Sonata in B minor (op. 58).
42One hears some exceptionally good piano playing during a London season. The great virtuosi come and go, and leave pleasant remembrances, if not of their entire programs, at least many compositions. Of the young unknown artists, one seeks almost in vain for the distinguishing mark, for that something that shall acclaim him or her as individual, unique, uncommon. So, when the unexpected happens, one may be said to be all the more ready to recognize the inexorableness of the artistic decree. According to the writer's judgment, the unexpected happened at Bechstein Hall this present week, when Benno Moiseiwitsch made his London debut. In a program that contained the Bach "Chromatic Fantasia and Fugue," Beethoven's "Appassionata" sonata, the Schumann "Carnaval" (op. 9), Chopin's B minor sonata, and Brahms' variations on a Paganini theme, this young pianist was the mature artist, in his broad grasp conceptions and continuity of design and delineation. The master of an absolutely
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