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Musical Courier 1925-12-17: Vol 91 Iss 25, 1925
110 lines. Read by computer on 27 September 2026. Printed page 9. See the scan on archive.org.
1December 17, 1925
3featured, besides the classics, Mahler, Bruckner and Casella. Prof. Ernst Wendel, conducting the Symphony Concerts, also has a series of most interesting programs. In these the piano concerto of Busoni, played by Demetrescu, Rudi Stephan's music for violin and orchestra, the Prokofieff violin concerto, played by Schmuller, the Dance Suite of Bartok and other works have been heard thus far.
5Foreign artists who appeared here lately include Edward Lankow, the New York bass, who rendered an interesting program in various languages, and William Murdoch, a very able English pianist. The Frankfort Opera has staged a splendid revival of Verdi's Othello, and by virtue of the altogether significant combined activities of Krauss, as musical chief, Wallerstein as stage manager, and Sievert as scenic designer, is enjoying an artistic renaissance.
7HERMANN LISMAN.
9BRUSSELS REVIVES PARSIFAL AFTER TWELVE YEARS' TIME
11Honegger's King David Makes Profound Impression
13BRUSSELS—Musical life in Brussels is already in full swing; the theaters have made some important revivals, the symphony concerts unroll the varied panorama of their often too copious programs; recitals of all kinds abound. However, the only sensational event was the revival of Parsifal at the Monnaie after a period of twelve years. Wagner's mystic drama had not been played here since its first European performances outside of Bayreuth in 1913. Since then many of the carriers of the Wagnerian tradition have disappeared and the interpretations of the newcomers, in spite of themselves, bear the stamp of our time; too much individuality, too little submission to the discipline required by a work of art.
15JOHN CHARLES THOMAS SINGS AMFORTAS
17Nevertheless the presentation of Parsifal by the Monnaie merits sincere praise for many a happily realized episode and for the first rate ability of such leading artists as Rogatckewsky (Parsifal) and John Charles Thomas, American baritone, who sang the Amfortas. The work has already been given four times and each time the house has been completely sold out. Three more repetitions have been announced.
19The number of our symphonic concerts will be less this year than last; two concert societies have had to abandon their efforts in the face of union demands and rising costs of organization. As usual, the Société des Concerts Populaires gives the musical life of Brussels its tone by virtue of the novelties presented in its programs and the quality of its performances. The present season is particularly notable because of the special festivities in connection with the sixtieth anniversary of the Society. Its conductors this season are Messrs. Frans Ruhlmann, the musical director of the society; Vladimir Golschmann, Sylvain Dupuis and Louis De Vocht.
21HONEGGER'S KING DAVID
23The first concert was a repetition of the original program of sixty years ago; the second was marked by a touchingly beautiful performance of Honegger's dramatic oratorio, King David. It is an inspiring work, whose effect on the public is unflagging because of its clan, the sincerity of its inspiration, and its technical perfection. The Concerts Populaires season will be concluded with a special gala concert under Willem Mengelberg.
25Besides the Concert Populaires there will be the usual concerts of the Conservatoire, and the three Concerts Spirituels under Joseph Jongen, at which an important Belgian oratorio will be brought out. The Concerts Ysaye, hitherto orchestral, will be limited to a double series of recitals by celebrated masters of the piano, violin and voice. Under the auspices of our best string quartet, the Pro Arte, already of international fame, we shall hear some of the most recent chamber music works, including Falla's Retablo de Maese Pedro; the Creation of the World, by Darius Milhaud; and the most recent compositions of Stravinsky.
27A. GETTMAN.
29MOLIERE'S SGANARELLE USED FOR OPERA
31Serves as Excellent Opera Text for Wilhelm Grosz—Adapted by Robert Konta—First Performance in Dessau—Erwin Schulhoff's Ogelala Proves Disappointing
33DESSAU.—More slowly than one would think possible, considering the great lack of librettos, are musicians coming to realize what excellent opera books Moliere's dramas would make. His sharply defined types lend themselves perfectly to opera buffa. One of the first to recognize and take advantage of this fact is Robert Konta, who has adapted the text of Sganarelle for Wilhelm Grosz's new opera of that name. This composer, who so far has been known only as a writer of very fine chamber music, has now proved himself to possess talent for opera as well.
35Grosz's music is at its best in the lyric scenes. Here the composer shows a distinct feeling for broad cantilena and warm, glowing orchestration. Coloratura singers, moreover, will thank him for having written so grateful a coloratura part. The basic rule of a comic opera composer should be the easy comprehension of the words by the audience; unfortunately this is a rule which Grosz repeatedly breaks.
37The production in Dessau—the work's premiere—was scenically under the direction of Dr. Hartmann and musically under that of Franz von Hoesslin. These gentlemen brought sympathy and ability to their task which resulted in a very finished and amusing performance. Of the singers, Peter Strauch as Sganarelle, Hilde Voth as Dorimene and Dr. Nitan as Dorimene's lover deserve special praise.
39This premiere was followed by another, a "dance mystery" entitled Ogelala, by Erwin Schulhoff. It is a rather confused patomime which provides little real opportunity for dancing. Moreover, Schulhoff does not succeed in crossing the boundaries of conventional oriental melodies and rhythms. He has given us better proofs than this of his talent.
41DR. ADOLF ABER.
43Famous Sword Used by Miura
45In the production of a new grand opera the technical director is obliged to seek in many strange places for articles correct and authentic to be used on the stage in the action of the lyric drama. The new opera of Japanese locale, Namiko San, written by Aldo Franchetti as a new medium for Tamaki Miura, Japanese soprano, has been prepared for production by the Chicago Civic Opera Company and has caused more than the usual scouting around by the technical director, who corresponds to the "property master" of the ordinary theater. The scenes of the opera are laid in medieval times in Japan, and require, among other things, swords of that period in the hands of a Samurai prince and his associates in the list of characters. Museums in Chicago, New York and Boston were searched for the correct weapons, when it occurred to the technical staff to look up the Jap who imported and sold such articles to those institutions.
47He is Kano Oshima, who has an invaluable collection of Japanese art works in New York. One of his swords dates back to the Kamakura period in the 14th Century and is priceless. It is one of the works of Masamune, the "Master," who was the greatest sword maker of Japan. A Masamune sword is to a Japanese what a Stradivarius violin is to a musician. Oshima has been offered $3,000 for this one, but prefers to hold it "out of sale" just as the most famous violin of all, "the Messiah," is held out by a London violin dealer beyond price. However, Oshima loaned this masterpiece, heavily insured, to his country-woman, Tamaki Miura, for her debut in Namiko San with the Chicago Opera on December 11. The collection of ancient armor and art works will be displayed on her subsequent tour, when she will appear in this opera in many cities and also revive her famous interpretation of Madame Butterfly, following the Chicago Opera engagement.
49DURING A REHEARSAL.
51(1) Left to right: Aldo Franchetti, composer of Namiko San; Sussue Hayakawa, motion picture star, and Mme. Miura. Miura has been assisted by her countryman and friend, Hayakawa, in technical details in the opera, which is laid in ancient Japan. The opera had its premiere in Chicago on December 11. (Photo by Hori.)
53THE FAMOUS SWORD.
55The technical department of the Chicago Civic Opera enlisted the help of the noted collector, Kano Oshima, for ancient Japanese armor. Oshima is seen with his almost invaluable collection, which dates back to the Kamakura Period of the fourteenth century. The sword in his hands is a famous work of Masamune, known as the "Master, most famous sword maker of Nippon." (Underwood & Underwood photo.)
57OTTO KLEMPERER.
59German conductor, who is to make his American debut with the New York Symphony Orchestra in January. Specially drawn for the MUSICAL COURIER during a remarkable Berlin performance of the Ninth Symphony, by Marai Witzel-Schubert.
61Courboin Returns from Europe
63Charles M. Courboin, Belgian-American organist, arrived in New York on the S. S. Belgenland, November 20, after a series of triumphant autumnal recitals in Belgium, England, Scotland and Ireland. Following his recital at Westminster Cathedral, London, the Morning Telegraph said it was "magnificent." The critic of the London Daily Telegraph again sang Courboin's praise. He also played in Manchester, Glasgow, Dublin, Cranbrook.
65Two thousand people crowded St. Patrick's Cathedral in Dublin on October 15, to hear him. According to the Dublin Irish Times, "If Mr. Courboin did nothing else, he taught the men and women of Dublin that for expressing tenderness the organ is unrivalled." The Dublin Irish Independent said in part: "In the Bach Passacaglia, the performance had the clearness of his technic." The Manchester Daily Dispatch reported: "It seldom happens that an organist can work up members of his audience to shouts of 'Bravo.' One could not fail but be struck with the rapidity and clearness of his pedaling."
67Courboin closed his European tour at the Brussels Conservatory of Music, where as a prize student he won the International Organ Prize. The musicians and elite of Brussels packed the great hall of the conservatory to welcome him. Le Matin observed: "Courboin attained a new triumph; he gave us again a new appreciation of the clearness of his technic, the clarity of his interpretation, the precision of his rhythm, the always happy expressiveness of his phrases, the exquisite sobriety and the grand playing of his effects." At the close of the Brussels recital, Courboin was elected a member of the Organ Examination Jury at the Conservatory.
69Courboin's American bookings began in Washington on the new Auditorium organ, December 10, followed by Amsterdam, Masena and Syracuse dates, and his reappearance with Gabriowitsch and the Detroit Symphony Orchestra is scheduled for December 17 and 18.
71Proschowsky Studio Musicale
73Frantz Proschowsky presented one of his artist-pupils, Doris Emerson, in a song recital on December 8, at his studio, 74 Riverside Drive. Miss Emerson, who has studied with Mr. Proschowsky during the past two years, and possesses a well trained lyric soprano voice, proved herself an artist of exceptional merit. Her program contained: Care Selve, Handel; Ave Maria, Bruch; Du Bist Wie Eine Blume, Liszt; Allerseelen, Strauss; On Mighty Pens, Haydn; Swans, Kramer; Oh! Grand Je Dors, Liszt; Alleluja, Mozart; Gesu Bambino, Pietro Yon; The Moon Path, Beach; How Many Times Do I Love Thee? Foote; and Take Joy Home, Bassett. Several encores were added.
75Miss Emerson is another convincing product emanating from the Proschowsky studio. Eva Johnson rendered sympathetic accompaniments.
77Wolff Pays Tribute to Giannini
79Werner Wolff, the young German conductor, was very much taken with Signorina Dusolina Giannini's singing and acting when he saw her in Trovatore, so he dashed off this little tribute in Italian.
81L'ORFEO SUPERATO
82Non tanto lamentare
83Invece di pensare
84Che fosti un male
85E lui 'l malfattore.
86Per tua gentilezza
87Perse la sicurezza,
88Cambiava il mestiere,
89Doveva il mestiere;
90Se già, senza vantare,
91Puni oggi domare,
92I nostri umani,
93Senti che domani
94Un ta' Orfeo avrò
95Scomparirà geloso.
96Dove' usar la voce
97Contro la vesta atroce.
98Il cantore abbraccia
99Sembrà esser trapassato.
100Cantare—che fatica!
101Ti non occorre mica,
102Orfeo, mi accerchi.
103Giannini ben risi.
104La Dusolina vinse.
105Perfin l'Orfeo respinse.
107Alla gentilissima Signorina Dusolina Giannini dal suo "Trovatore"
108Amburgo, 9/9/25.
109Werner Wolff.
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