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Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
87 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1MOSCOW PRIVATE OPERA PRODUCES "MLADA."
3Rimsky-Korsakow Also Honored by Imperial Opera House Which Brings Out "Tsar Saltan"—Mozart's "Don Juan" Revived—Verdi Centenary Observed.
5Arbatte, Deneshny 32,
6Moscow, Russia, November 4, 1913.
8The private opera in Moscow has patronized the national art from the very beginning of its activities. Many Russian operas were first performed on the stage of the Theater Solodowikow. Mr. Zimin, owner and manager of this theater, has remained true to these traditions and opened the season with Rimsky-Korsakow's opera "Mlada," seen for the first time in Moscow. Strange indeed was the manner in which this opera was composed. This happened in the year 1869. Guedeonow, Director of the Imperial Opera Houses, planned an opera, which would be at the same time a "Féerie" with ballet dances and choruses, all of the most fantastic kind. The theme was taken from the folklore of a Slavonian tribe living on the shores of the Baltic Sea, and dealing with a period antedating Christianity. The mighty Bureaucrat of the second half of last century, the Director Guedeonow wished to have for each act a separate composer and distributed the scenes between Borodin, lés Cui, Moussorgski and Rimsky-Korsakow. They understood the work, as the subject afforded fantastic themes quite suitable for music. It happened that soon afterward Guedeonow, the director, retired, and the opera remained unfinished. The composers used the excerpts they had already written to their other works.
10Many years elapsed before, in 1889, the composer Liadow, gave Rimsky-Korsakow the idea to return to the poetical subject. Just at that time Angelo Neumann (impresario) went to St. Petersburg to produce Wagner's operas. The spirit of this reformer of the operatic stage, influenced Rimsky-Korsakow's mind. He began to admire greatly the new art of orchestration, and the system of the "Leitmotiv" of the great German reformer. And under the sway of these new impressions and strong experiences he composed his "Mlada." The opera was soon worked out and its first performance took place in 1892 at the Imperial Opera House, the Marien Theater, in St. Petersburg, but after a few performances disappeared entirely from the stage. one of two readings
11Many years elapsed before, in 1889, the composer Liao- dow, gave Rimsky-Korsakow the idea to return to the poetical subject. Just at that time Angelo Neumann (impresario) went to St. Petersburg to produce Wagner's operas. The spirit of this reformer of the operatic stage, influenced Rimsky-Korsakow's mind. He began to admire greatly the new art of orchestration, and the system of the "Leitmotiv" of the great German reformer. And under the sway of these new impressions and strong experiences he composed his "Mlada." The opera was soon worked out and its first performance took place in 1892 at the Imperial Opera House, the Marien Theater, in St. Petersburg, but after a few performances disappeared entirely from the stage. one of two readings
13We owe a debt of gratitude to Mr. Zimin for producing the "Mlada" in Moscow, which opera is a masterpiece of our beloved native composer, whose songs and melodies remind one of the freshness of the fields and woods in spring, revealing a joyful existence. The melodic element in the work is astonishing, as well as the brightness of the orchestral part. Peter Olenin, the regisseur in chief, has taken great pains to give us fine scenery, handsome decorations, dances and well trained choruses, all being of great importance toward the success of the "Mlada."
15The roles of the singers (Mesdames Petrowa-Zwanzewa, Zakrewskaja, Netshaewa and Messrs. Ossipow and Lebedew) are small, although each of them has a short but beautiful part, both as to singing and acting. The orchestra under Bagrinowski, a young musician and talented composer, played finely and revealed all the charm of Rimsky-Korsakow's music. one of two readings
16The roles of the singers (Mesdames Petrowa-Zwanzewa, Zakrewskaja, Netshaewa and Messrs. Ossipow and Lebedew) are small, although each of them has a short but beautiful part, both as to singing and acting. The orchestra under Bagrinowski, a young musician and talented composer, played finely and revealed all the charm of Rimski-Korsakow's music. one of two readings
18The second novelty at the Private Opera was Puccini's "The Girl of the Golden West," which is well known in America.
20The third achievement of this season at the Private Opera was the revival of Mozart's "Don Juan." From a scenic point of view the production was one of artistic splendor. The charm of Mozart's tender melodies and limpid orchestration appeared in full beauty under Plotnikow, an experienced conductor.
22The Imperial Opera House also paid a tribute to Rimsky-Korsakow's genius. In October his opera, "Tsar Saltan," was produced on the Imperial stage for the first time in Moscow, although it was composed in 1890, almost at the same time as the above mentioned opera "Mlada," under the sway of Wagner's music. The subject was taken from a Russian native tale, that was worked out in a poem by Poushkin, the illustrious Russian poet, who had a gift for grasping the spirit of the true national character. The fairy tale of "Tsar Saltan," with its fantastic subject full of gaiety and sunshine, inspired Rimsky-Korsakow. The opera was splendidly given on the stage of the Imperial Opera House. The scenic decorations were worked out by the noted painter Korovin, whose creation was a marvel of art. The arrangements of the various scenes and wonderful color effects reminded one of a Féerie.
24The manifestation of musical pessimism is not a characteristic for Rimsky-Korsakow's creations; he preferred joy to gloom, and it would be difficult to find a single air in the opera which was not alive and tingling with real and lyric interest, full of melodic freshness, with an overflowing rhythmic gaiety. One symmetrical line could be easily traced in the whole of the opera.
26In memory of the centenary of Verdi's birth, a magnificent performance of "Rigoletto" and the third act of "Ernani" were given at the Imperial Opera House. Mme. Neshdanowa charmed with her wonderful singing as Djilda, as did also Leonide Sobinow, the beloved Moscow tenor, who was her valuable partner. The whole cast was good and highly honors the Imperial Opera House.
28ELLEN VON TIDEBOHL.
30Joseph Henius Club of American Music.
32The first musicale of the Joseph Henius Club of American Music, season of 1913-1914, was held on Wednesday evening, November 19, at the home of Mrs. Amend, 33 West Eighty-first street, New York City.
34The program, which consisted mainly of selection from the works of American composers, was well rendered. A special feature was the excellent harp solo by Carlos Salzedo, who played, among other things, one of his own compositions.
36Edmund Severn gave a humorous description of his Suite from Old New England, after which Carl Tollefse, accompanied by Mme. Schnabel-Tollefse, played it to the delight of the audience. one of two readings
37Edmund Severn gave a humorous description of his Suite from Old New England, after which Carl Tollesfien, accompanied by Mme. Schnabel-Tollesfien, played it to the delight of the audience. one of two readings
39The Joseph Henius Club of American Music has been formed in memory of the late Joseph Henius for the development of works by American composers.
41Music is the poor man's Parnassus.—Emerson: "Letters and Social Aims." ("Poetry and Imagination.")
43BISPHAM'S IMPRESSIONS OF VAUDEVILLE AUDIENCES.
45Popular Baritone Has Some Characteristically Interesting Things to Say Concerning His Novel Experiences in a New Field of Entertainment.
47During the past ten weeks of his successful appearances in vaudeville, a wide breadth of experience has been granted the famous baritone David Bispham, who aptly expressed his observations as follows to the MUSICAL COURIER:
49"Well, it is just like walking along the street, sometimes you are in the business part of the town, then in the streets filled with homes; bye and bye you come to the Gay White Way, then you cross into Fifth avenue, which, do not forget, is having many changes of its own; now you come to a slum, but near it is a church, and alongside there is a peaceful square, out of traffic's way,—but let it not flatter itself, it will not be for long.
51"So it is with the people I meet and the audiences I sing for. Some have been business people, some domestic; some amusement seekers, some fashionable. Many are poor, often sent by the clergy and other settlement workers to hear me, while back in the corners often are the quiet seekers for 'a little fun' in peace and comfort after a day of worry. But too soon for these comes down the curtain and the bustle of the street is in their ears as they trudge on again in the crowd.
53"But busy or idle, poor or rich, all enjoy music, or could if they would only hear it oftener. The holder of an opera box is no more likely to be fond of music than the bootblack—his money can buy him entrance to the 'golden horseshoe,' but not to the fine appreciation of what he hears.
55"I am glad that this new experience has come to me—not new exactly—but an experience of a new type of audience—a far broader one, containing more types of individuals than I have ever before encountered. All have come to be amused, each by the sort of 'act' he fancies, or by the aggregation of acts he fancies will give him the best value for his money. Whereas in the audiences I usually face are many specialists, who have subscribed to opera, symphony, oratorio or song recitals, because they are enthusiasts in one or the other of these branches of musical endeavor. Hence they are apt to be not only very critical, but correspondingly enthusiastic over what they deem to be good.
57"So also is the composite vaudeville audience, enthusiastic,—enormously so! Let no one think that there is any lack of discrimination among the patrons of the high class variety theater of today. That the standard is being raised so high, is the best indication that the public demands the best that is going. It is also an indication that there is a protest against the too frequent high prices charged for worthless 'legitimate' offerings.
59"As for the appreciation of my personal efforts, I cannot sufficiently thank either my managers or my audiences for they way in which my songs have been received, and it is a source of constant interest to me to observe how this or that 'classic' or perchance more popular number will be received. So far the thing is about even, and I am keeping the standard up in consequence."
61Grand Rapids Student Orchestra.
63Attached is a program given by the Grand Rapids (Mich.) Central High School orchestra (John W. Beatie, conductor in the High School auditorium, Friday evening, November 21. Mrs. R. Mauritz (soprano), Henrietta Sonnema (contralto) and Mrs. Fred. J. Brockmeier (accompanist) assisted.
65The large auditorium was filled with parents and music lovers, who by their hearty applause expressed their appreciation of the numbers rendered. Grand Rapids citizens take particular pride in this student organization, in which there is good balance of instruments and the unity with which the players respond to the baton of the conductor is pronounced.
67This is the program:
69Largo (from Xerxes)………………………………………Handel
70Sixth Symphony (Surprise)………………………………….Haydn
71The Sweet Spring Maid………………………………………Isabel North
72Rose in the Bud……………………………………………..Dorothy Forster
73Mrs. Mauritz.
74Quintet for wind instruments (op. 71)…………………….Beethoven one of two readings
75Quintet for wind instruments (op. 71)……………………..Beethoven one of two readings
76Harry Clark, flute; Helen Evarts, clarinet; Leo Ruckle, oboe; Edward Grant, horn; Percy Nickel, bassoon.
77Two numbers from Scenes from Childhood…………………Schumann
78Serenade…………………………………………………….Moszkowski
79Meditation on a prelude of J. S. Bach……………………..Gounod
80Arline Turrell, solo violin; Mildred Crabb, harp; Spencer Horner, Siegel Judd, violins; Amy Hudson, viola; Clare Hudson, cello.
81The Wind in the Corn………………………………………Robert Clarke
82The Reason Why…………………………………………..Teresa del Riego
83Miss Sonnema.
84En Sourdine……………………………………………….Tellam
86The greatest advantage that a writer can derive from music is that it teaches most exquisitely the art of development.—Disraeli: "Contarini Fleming." Pt. III, Ch. 8.
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