Books › Musical Courier 1913-11-12: Vol 67 Iss 20, 1913 › scan 46
Scan 46
Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
26 lines. Read by computer on 26 September 2026. Printed page 47. See the scan on archive.org.
1ties and who, at the same time, can properly deliver so serious a message.
3The same composer's "Scherzo Capriccioso" was played by Maud Powell recently in her New York recital at Aeolian Hall. It is published as op. 19.
5Two Moussorgsky transcriptions by A. Walter Kramer are full of interest. We cannot tell how much is Modest Moussorgsky and how much is A. Walter Kramer, for the work is so well done that no seams are noticeable.
7The melodious and effective prelude to the second act of Walter Damrosch's "Cyrano" is one of the best numbers in the opera. As a violin solo it should have many admirers.
9A volume of thirty-nine violin etudes, for the systematic study of double stops, by Eduard Herrmann, supplies exercises that no serious student of the violin can afford to ignore. We particularly admire the bold legible type of this edition. It makes these dry studies attractive to the eye.
11THE MADCAP DUCHESS. A comic opera by David Stevens, Justin Huntly McCarthy and Victor Herbert.
13As every experienced theatrical man will tell you, the plot of a comic opera has a great deal to do with its success, but the editors of this new opera from the pen of the prolific Victor Herbert seem not to have been of this opinion when they prepared this work for the press, as they tell but a small part of the story in their preface and leave the rest to the imagination of the reader. One might almost add that the music also has something to do with the success of a comic opera, provided only that it is not too extensive and leaves plenty of time and space for dialogue and the inevitable comic business without which no American comic opera can live more than a day. "The Madcap Duchess," which is in two acts and has but seventeen musical numbers, some of them very short, satisfies these requirements entirely. The music of it is constructed upon Victor Herbert's usual plan, of using "leit motives" or making two or three good tunes do much service, it being the composer's opinion, apparently, that it is better to repeat a good tune already used than to introduce something new but less good. It is a worthy plan and satisfies the average audience entirely. It seems to us that there are as many good tunes, and that they are as good in this work as in some of the same composer's earlier efforts.
15FIRST CONCERT OF THE PEOPLE'S SYMPHONY ORCHESTRA.
17Auspicious Opening of Series of Four Concerts—James P. Dunn's "Annabel Lee" Unusual Work, with Startling Effects—Best Orchestra So Far Brought Together by Manager Lenalie—Gurowitsch, Cellist, Please.
19The first concert of the People's Symphony Orchestra, fourteenth season, found an audience of good size in attendance at Carnegie Hall to listen to a program of familiar music, with the exception of the orchestral-vocal novelty, James P. Dunne's setting of Poe's "Annabel Lee," sung by tenor Frank Ormsby. It took courage of conviction on the part of Mr. Arens to place this number on the program, for it is a startling composition, employing the downward whole tone descending scale, "à la Debussy." Up to date orchestration provided by the composer produced some weird effects, and two fortissimo high B's rang out with heroic effect, Mr. Ormsby singing throughout with entire confidence; with this strange scale that feat is no small thing! At the close the composer was brought to the front by Conductor Arens, the audience then seeing what this disciple of MacDowell, Rüben, Wagner and Strauss looked like. Tomorrow, November 13, he plays a series of pieces of his own at the first concert of the twenty-fifth season of the Manuscript Society of New York.
21Conductor F. X. Arens has in this orchestra the best material he has yet had, and produced effects of utmost daintiness, particularly in the Dvorák symphony. There was a euphony and unity quite delightful, and throughout the afternoon personal tribute was paid him. Refusing to monopolize this, he bade the orchestra rise in acknowledgment, for the applause was very sincere, and deserved by all concerned. It was finished orchestral playing, and this, for the first concert of the season, after a summer's intermission and lack of rehearsal, is worth noting.
23Sara Gurowitsch, cellist, grown to a tall young lady, played the Goltermann concerto with good tone and taste, winning most applause after the lovely singing music of the cantilene in F major. The next concert takes places Sunday afternoon, December 14, in Carnegie Hall.
25An innovation was the publication of a printed sheet containing the usual Arens "Program Notes," distributed with the programs, and taking the place of the conductor's oral remarks. They are illuminating, written with remarkable understanding, and interested everyone. Liszt's "Polonaise Heroique" in E concluded brilliantly the afternoon's music.
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