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Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
20 lines. Read by computer on 26 September 2026. Printed page 5. See the scan on archive.org.
1PHILOSOPHICAL VIOLIN WORK HEARD IN BERLIN.
3Vogrich Concerto Deals with Dante, Galileo and the Inquisition—New Orchestral Fantasy by Neitzel—A Bruch Triumph—Another Concert Hall—Caruso Disappoints Again—Bachaus Plays Chopin—Weingartner to Lecture.
5Jenaer Str., 21, Berlin, October 25, 1913.
7A new violin concerto by Max Vogrich, the Hungarian composer, now living in London, was introduced by Mischa Elman, who gave a concert with the Blüthner Orchestra, under the leadership of Max Fiedler. This concert is entitled "E pur si muove," and the underlying poetic idea deals with Galileo and the Inquisition. There are four movements, each of which is headed with a quotation from Dante. In the first movement, "Lasciate ogni speranza," one must think of Galileo before the Inquisition in order to understand the character of the music, which is gloomy and foreboding, but very dramatic. The second, "L'Amor che muove il Sole e l'altre stelle," is a beautiful lyric movement, which gave Elman ample opportunity to revel in his luscious tone. This movement is instrumentated with great refinement. The third and the fourth movements bear the titles: "Perchè si tace in questa ruota" and "Basta a seguire la provvidenza eterna." It is descriptive, or program music, that Vogrich has written: it contains philosophical depths, dramatic force and also cantabile parts of appealing sweetness and lyric beauty. Although Vogrich keeps in the main to the old form of concerto he handles both the solo instrument and the orchestra with a great deal of freedom and originality. The violin part is exceedingly difficult and contains whole passages in fifths and fourths, augmented fourths or diminished fifths and other peculiarities most difficult of execution. It is unquestionably a work of interest and importance. Elman played it in a masterly manner, securing an emphatic success. The composer, who was present, received an ovation. The rest of the program consisted of Lalo's "Spanish" symphony and the Beethoven concerto.
9Otto Neitzel's interesting fantasia, entitled "Das Leben ein Traum," for violin and orchestra, was played at Blüthner Hall by Marteau under the composer's baton. I heard this work about six years ago at a music festival in Essen. It is an interesting composition, and is admirably written both for orchestra and solo violin. Esprit philosophy, "Stimmung" and a masterly handling of the orchestral apparatus are its characteristic features. A new violin concerto by Hans Koessler was introduced at this concert. The nucleus of this work is a passacaglia, the theme of which recurs again and again throughout the entire work. It is not an important concerto, but it makes some claims on the intellect of the listener and was quite well received.
11Important musical events crowded thick and fast upon us during the past week. The opening concert of the Philharmonic Choir, under Siegfried Ochs, brought a program of modern compositions, two of which were novelties—Hans Koessler's "Trauerode" for chorus and orchestra and Humperdinck's setting of Uhland's ballad, "The Luck of Eden Hall." This is an early work of Humperdinck's, and although not one of his best creations it is melodious and pleasing and is written in a popular vein without being banal. This style of writing is one of Humperdinck's strongest points. Koessler is more or less under the influence of Brahms: his ode lacks originality of invention and treatment. Both Humperdinck and Koessler were present and were heartily acclaimed. The former is Hungarian and he came over from Budapest to attend the Berlin premiere of his work.
13The great event of the evening, however, was the magnificent rendition of three movements from Max Bruch's Mass, "Kyrie," "Sanctus" and "Agnus Dei." Bruch began the composition of these choral numbers fifty-four years ago—in 1859. They reveal to the full his genial flow of inspiration and the master hand at handling the chorus and orchestra. The venerable composer, who now is seventy-six years old, was present, and the ovation tendered him was one of the greatest ever accorded him during his long life. Rarely have I seen such a spontaneous outburst of enthusiasm in the hall of the Philharmonie. The "Sanctus" in particular was overpowering in its effect. Max Bruch of Schubert's B flat major trio by Professor Mayer-Mahr and associates. Later they played Beethoven's variations on "Ich bin der Schneider Kakadu." Mme. Gmeiner sang lieder by Brahms and Loewe, while the tenor was heard in songs by Wolf. The concert, which was given before an invited audience, was very successful.
15Caruso has made three further appearances at the Royal Opera in "Boheme," "Carmen" and "Pagliacci." I heard him on Wednesday in "Carmen" and I was again disappointed, although he still had some wonderful moments in the third and fourth acts. Many people heard him on this evening for the first time and every one that I spoke with was, without exception, disappointed. The performance itself, which was conducted by Blech, was on the whole an indifferent one. Mme. Salvatini was wholly inadequate in the title role. In the duet with Caruso in the second act she broke down completely. It is strange that the management should place such a poor Carmen in a cast with Caruso. There was no real enthusiasm, although the celebrated tenor had numerous curtain calls. Mlle. Artot Padilla was a charming Micaela, but Wiedemann as Escamillo revealed many shortcomings.
17Richard Strauss did not conduct the first concert of the Royal Orchestra, although it had been announced that he would do so. Strauss is still at his summer house in Garmsich in Upper Bavaria and is reported to be ill. Leo Blech substituted for him. Blech is an excellent conductor, but of course none of the glamor surrounds him that makes Strauss' appearance at the head of the Royal Orchestra of such interest. The program of this first concert, in accordance with a time honored custom, was strictly classical and comprised Schubert's "Rosamunde" overture, Haydn's "Paukenschlag" symphony, Mozart's concerto for flute and harp and Beethoven's eighth symphony. Mozart's work for flute and harp was the chief attraction. It is the only concerto he ever wrote for this combination of instruments, although he composed no less than fifty-five concertos for all kinds of instruments, including piano, violin, bassoon, oboe, flute, clarinet and horn. Most of these are unknown. The flute and harp are accompanied by a small orchestra of strings, two oboes and two horns. The work is replete with veritable spontaneous Mozart melodies. It is so delightful that one finds it difficult to understand why it has not been heard hitherto on our concert programs. It was admirably performed by Prill, flute, and Ziegenheim, harp. Blech gave a very good account of the rest of the program.
19A delightful program of old music was heard at Bechstein Hall on Sunday when the Parisian "Sociétés des Instruments Anciens" made their first appearance of the season. The program consisted almost entirely of forgotten compositions and included Haydn's symphonia for viols and clavecin, Benincori's quartet in B minor and Detouche's "Fete Galante," a suite in five short movements. The Society of Ancient Instruments numbers five performers and the instruments they play were obsolete until within the last few years. The members are Maurice Hewitt (quinton), Henri Casadesus (viole d'amour), Marcel Casadesus (viole de gambe), Maurice Devilliers (basse de viole), Regina Patorni (clavecin). The five artists played together with great finish and with the utmost refinement; their ensemble leaves nothing to be desired. The quaint charm of the old instruments and of the ancient works as rendered by them, was irresistible. Between the ensemble numbers Mme. Patorni was heard in three short solos on the clavecin, a menuet by H. Desmarets, a gavotte by G. Martini and "Les Papillons" by Campra, all seventeenth and eighteenth century composers. Mme. Patorni manipulates the clavecin with skill of the highest order
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