Scan 2
Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
25 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.
1BERLIN
3Jenaer St., 21,
4Berlin W., May 10, 1913.
6A musical event which attracted the attention of all Germany during the past week was the prize competition of German male choruses held at Frankfort from May 3 to 9. This was the fourth of the big prize competitions instituted by the Kaiser and singing societies from all parts of the Fatherland competed. There was an influx of thousands of participants and visitors to the city on the Main and the presence of the Emperor during the entire series of performances lent a crowning glamor to the holiday atmosphere that prevailed. As the competing societies, one after another, put forth their best efforts in the hope of carrying off the prize of prizes, the "Kaiserkette," a chain and pendant of pure gold, which remains in the possession of the winners until in subsequent competition won from them, the enthusiasm and excitement kept increasing. It was generally supposed, as the competition drew toward a close, that the Cologne Maennergesangverein would be the victors, but with the entrance of the Berlin Lehrer-Gesangverein into the arena they found themselves confronted by their first really formidable rivals. It was a difficult matter for the nine judges to decide between the merits of the two societies, but after an hour's consultation it was their unanimous verdict that the "Kaiserkette" belonged to the Berlin organization. Ten years ago the Berliners were obliged to give up the trophy, but today it is theirs again and naturally there is much rejoicing over the recovery to the music center of the world of this national recognition of her supremacy in this particular province of musical art.
8The Cologne Maennergesangverein, although awarded the first prize in the series of twenty-one additional prizes, took their defeat bitterly to heart, seeming to feel that the "Kaiserkette" had been unfairly awarded. "The Cologne Maennergesangverein will have to bow to this decision," says the Rheinische Zeitung, "but it is highly probable that they will definitely withdraw from future competition where the decision depends upon such delicate artistic and critical considerations!" Upon what other kind of considerations, pray, ought such a decision to rest? If that had been the spirit shown by the Berlin organization ten years ago, when they themselves had to give up the trophy, they would not today have the honor of receiving first place among the male singing societies of Germany.
10The other organizations upon whom prizes, consisting of costly goblets, bowls and beakers, were bestowed were, in order of their excellence: The Konkordia, Essen; Maennergesangverein, Essen; Maennergesangverein, Wiesbaden; Liedertafel, Munich-Gladbach; Schlagel und Eisen, Bochum; Maennergesangverein, Potsdam; Sanssouci, Essen; Konkordia, Aachen; Lehrergesangverein, Posen; Cecilia-Melodia, Berlin; Saengerchor, Barmen; Maennnerchor, Magdeburg; Saengervereinigung, Krefeld; Maennergesangverein, Trier; Maennnerchor, Duisburg; Maennergesangverein, Erfurt; Maennergesangverein, Berlin; Maennergesangverein, Dortmund; Maennergesangverein "Rheinland," Coblenz; Saengerbund, Colingen; Saengerbund, Duisburg, and Saengerchor des Turnvereins, Offenbach. In the presence of the 20,000 participants and visitors assembled on the final day, a herald dressed in medieval costume mounted the platform and announced the prize winners. The conductor and president of each society was led to the Emperor's box to receive from the hands of the Princess Friedrich Karl the tokens of honor awaiting them, while the Kaiser warmly congratulated them. It was an event of great interest and for the opportunity to witness it prices of from 1,000 to 3,000 marks were paid for the loges near the royal box. To each of the judges the Kaiser presented a signed photograph of himself and orders were conferred upon the mayor and assisting city officials of Frankfort. The judges upon whose "delicate artistic and critical" perceptions the decision rested were: Dr. Beier, of Cassel; Professor Buths, of Dusseldorf; Professor Fleisch, of Frankfort; Professor Forstler, of Stuttgart; Professor Heilscher, of Brieg; Professor Kretzschmar, of Berlin; Professor Sitt, of Leipsic; Professor Taubert, of Berlin, and Director von Schuch, of Dresden. The members of the committee were: Count von Hulsen-Haeseler, General Intendant of the Berlin Royal Opera, president; Ministerialdirektor Dr. Schmidt, vice president; Geheimrat Max Friedländer, and Prof. Hugo Rüde, of Berlin. The choice of works in which they were to be heard was left to the discretion of the competing societies and thus a great variety of choral compositions was offered. Friedrich Hegar, the Swiss composer, was most honored, however, his "Preischor" having been sung no less than forty times during the week. In Eduard Behm's "Wanderliede" the Berlin Lehrergesangverein proved their superiority in power of expression, nobility of conception, careful phrasing and fine working out of detail. one of two readings
11The other organizations upon whom prizes, consisting of costly goblets, bowls and beakers, were bestowed were, in order of their excellence: The Konkordia, Essen; Maennergesangverein, Essen; Maennergesangverein, Wiesbaden; Liedertafel, Munich-Gladbach; Schlagel und Eisen, Bochum; Maennergesangverein, Potsdam; Sanssouci, Essen; Konkordia, Aachen; Lehrergesangverein, Posen; Cecilia-Melodia, Berlin; Saengerchor, Barmen; Maennnerchor, Magdeburg; Saengervereinigung, Krefeld; Maennergesangverein, Trier; Maennnerchor, Duisburg; Maennergesangverein, Erfurt; Maennergesangverein, Berlin; Maennergesangverein, Dortmund; Maennergesangverein "Rheinland," Coblenz; Saengerbund, Colingen; Saengerbund, Duisburg, and Saengerchor des Turnvereins, Offenbach. In the presence of the 20,000 participants and visitors assembled on the final day, a herald dressed in medieval costume mounted the platform and announced the prize winners. The conductor and president of each society was led to the Emperor's box to receive from the hands of the Princess Friedrich Karl the tokens of honor awaiting them, while the Kaiser warmly congratulated them. It was an event of great interest and for the opportunity to witness it prices of from 1,000 to 3,000 marks were paid for the loges near the royal box. To each of the judges the Kaiser presented a signed photograph of himself and orders were conferred upon the mayor and assisting city officials of Frankfort. The judges upon whose "delicate artistic and critical" perceptions the decision rested were: Dr. Beier, of Cassel; Professor Buths, of Dusseldorf; Professor Fleisch, of Frankfort; Professor Forstler, of Stuttgart; Professor Heilscher, of Brieg; Professor Kretzschmar, of Berlin; Professor Sitt, of Leipsic; Professor Taubert, of Berlin, and Director von Schuch, of Dresden. The members of the committee were: Count von Hulsen-Haeseler, General Intendant of the Berlin Royal Opera, president; Ministerialdirektor Dr. Schmidt, vice president; Geheimrat Max Friedländer, and Prof. Hugo Rüde, of Berlin. The choice of works in which they were to be heard was left to the discretion of the competing societies and thus a great variety of choral compositions was offered. Friedrich Hegar, the Swiss composer, was most honored, however, his "Preischor" having been sung no less than forty times during the week. In Eduard Behm's "Wanderlied" the Berlin Lehrergesangverein proved their superiority in power of expression, nobility of conception, careful phrasing and fine working out of detail. one of two readings
13The performance of "Siegfried" at the Royal Opera on Monday marked the third production in the work of re-
15PHOTOGRAPH OF PROF. FELIX SCHMIDT,
16Leader of the Berlin Lehrer-Gesangverein, framed in the "Kaiserkette," won by the society in the competition at Frankfort. Published by Hans Dursthoff.
18studying the "Ring," which has been going on during the season. The results attained proved worthy of great praise and met with the hearty approbation of the enthusiastic audience, I am told. Kirchhoff gave a sympathetic and convincing delineation of the title role, being in exceptionally good voice; in the lyric numbers of the second act, particularly, he sang with charming effect. At times one could have wished for greater volume of tone, but the great demands of the role doubtless made it expedient for the singer to reserve his powers for the more dramatic moments. Frau Kurt as Brünnhilde and Frau Arndt-Ober as Erda were eminently successful, while Hachich and Henke gave characteristic portrayals of the roles of Mime and Alberich. Bischoff, as Wotan, Schwiegler as Fafner, and Frl. Dux as the Bird were not entirely satisfactory, although in the first scene Bischoff did some clever work. The orchestra under Leo Blech won new laurels for themselves and their leader, under whose solicitous direction the work had been restudied. The new scenery added much to the interest of the occasion. The cave of Mime in the first act and the forest scene in the second were very artistic and pleasing. The dragon scene, I am told, was perhaps more effective in the former setting. On the whole the warm reception accorded the performance was a well deserved one.
20One of the most enjoyable musicales that have been given at the American Woman's Club during the past season was the recent program of songs by Paul Tietjens as interpreted by Eleanor Painter-Schmidt, of the Deutsche Oper. Paul Tietjens, whose name is so well known in America as the composer of the "Wizard of Oz," has a remarkable flow of lyric inspiration and such versatility of expression that he is equally successful in songs of a serious or of a lighter nature. The program was divided into two groups, the first six numbers forming a cycle called "Songs of a Sailor's Sweetheart," of which a "Sailor Song," "Dreams" and "The Storm" were particularly effective. The second group included "Blind," "Sphinx," "The Dead Flower" and "Woodland Love Song," all of which, with the exception of "Sphinx," had already been heard in public in Berlin and commented on in these columns. The marked individuality of each of these four songs bespeaks unusual inventive ability, and their beauty and strength is enhanced by the simplicity of treatment, which keeps melody always in the foreground. Mrs. Painter-Schmidt rendered the songs with the unerring, sympathetic insight characteristic of her interpretations and the warm, rich quality of her beautiful mezzo-soprano voice, and her never failing temperament and artistic instinct assisted them to a highly deserved success. The composer played the piano accompaniments with charming effect. At the end of the program persistent demands for an encore were responded to with a lullaby of delightfully simple and intimate mood from Mr. Tietjens' pen. Between the two groups of the American composer Mrs. Schmidt sang the aria, "Non la sospiri la nostra casetta," from "Tosca," with such success that her listeners would not be satisfied until she had responded to repeated recalls with the "Habanera" from "Carmen," which she sang with captivating abandon and dramatic effect. In these arias the artist was very sympathetically accompanied by her husband. Mr. Tietjens is not only a composer, he is also a pianist of high attainments, having perfected himself under Leschetizky and Harold Bauer. He will be heard in a recital next season.
22Arnold Schönberg has once more baffled the critics and public of Berlin, this time with the first performance of his chamber symphony for fifteen solo instruments given in Harmonium Saal on Wednesday. In order to give the listeners an opportunity to become accustomed to and to find a meaning in the unintelligible mixture of sounds, the whole work was gone through twice, but its interest did not seem to be increased even by this stringent measure, and not a hand was raised to applaud at the end of the evening. The audience sat perfectly silent as if stunned. One Berlin critic compared the harmonic structure of the work to a field of weeds and turnips mixed together, and the general opinion was that, with the exception of a single recurring motive, the composition was a most unaccountable jumbling together of abnormalities. It was conducted by Herr Schönchen, who did his best with the work, but the state of bewildermment in which it left the audience made it clear that the Viennese musical revolutionist has not yet educated musical Berlin up—or shall I say down?—to his standards.
24The fifth of the Stern Conservatory operatic performances in the Nollendorf Theater last Saturday brought acts from "Romeo and Juliet," "The Troubadour," "Das Glückchen des Eremiten" (Maillart) and "Fra Diavolo." The performances of these pupils deserve high praise, not only because of the skilled vocal work revealed, but also for the remarkable smoothness of the representations as a whole, the routine that has been acquired by these novices under the direction of Nicolaus Rothmühl being worthy of far more experienced artists. This time Käthe Jaenicke made a charming Rose Friquet in the "Bell of the Hermit," her fresh, sympathetic soprano voice lending itself well to the native role. Erna Lendl was very satis-
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