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Musical Courier 1927-11-17: Vol 95 Iss 20, 1927
120 lines. Read by computer on 28 September 2026. Printed page 7. See the scan on archive.org.
1November 17, 1927
3MORE QUANTITY THAN QUALITY IN VIENNA'S MUSICAL LIFE
5Schalk Puts New Life into Staatsoper—Chamber Music Attracts Best Audiences—Relativity in Music
7VIENNA.—Vienna's new musical season, judging by its beginnings, will resemble its predecessors in one point at least; namely the preponderance of quantity over quality, as regards both music and artists. Franz Schalk is one of the most active musicians in the struggle against this evil, and among other efforts, he has achieved wonders in his task of putting the Staatsoper in perfect working order.
9New singers have been imported and young ones discovered—Pataky, for instance, a notable Hungarian tenor—and of course, Jan Kiepura, his temperamental colleague of high C, whom the Vienna Staatsoper raised from obscurity to international fame and who is steadily profiting from the cultured atmosphere of the house. Ambitious plans and premières include Korngold's latest, the long-heralded Miracle of Heliane, which will come out shortly. Alfano's Madonna Imperia will follow, and Schalk's Xmas surprise for good children is another strong dose of Stravinsky; namely Oedipus Rex. Quite a formidable list, one should say, for the first quarter of the season.
11While Schalk attends to the artistic aims of the Opera with enthusiasm and success, Franz Schneiderhan, the administrative general director, is working quietly and steadily on the material welfare of the house. He has succeeded in his scant two years of office in putting the Staatsoper on a sound financial basis—a herculean task which is hardly credible. Receipts have never been better than under his "dictatorship," a blessing which Schneiderhan has effected with an energy that merits admiration and gratitude.
13SUPERSTITIONS BANISHED
15In the concert field Schalk has managed to dispel the old Viennese prejudice that serious programs and the presence of soloists are incompatible. It is an old superstition much like the ban on applause at Parsifal or on curtain calls at the Vienna Burgtheater. Schalk would have earned an even deeper gratitude had the soloist of the first Philharmonic concert measured more nearly up to the marks. She was Margit Angerer, another Schalk discovery, who possesses a fine voice and considerable talent but who has been promoted to the rank of star somewhat too quickly.
17The regular Tonkünstler concerts this year are in the hands of Rudolf Nilius who, well known here for his unusual and interesting programs, has been promoted from the ranks of a "Pop" conductor of the Konzertverein to this position, which has been held both by Furtwängler and Clemens Kraus. The opening concert included an unfortunate performance of Mahler's second symphony, which was so utterly inadequate as to emphasize the palpable weaknesses of the work without even suggesting its poetic assets. Yella Braun Fernwald sang the contralto part with a dramatic voice that did not easily lend itself to the naive lyricism of the "Urlicht" movement, and Ruzena Herlinger battled heroically against the orchestra without being able adequately to exhibit her beautiful voice in so ungrateful a part.
19If the choice of Rudolf Nilius for this post was somewhat of a surprise, an even greater one was the opening number of this program, namely the prologue of Vittorio Gneechi's opera, Cassandra. Its performance awoke reminiscences of long forgotten days, when the Volksoper produced the whole opera. That was only sixteen years ago, but ages seem to have elapsed since then. If memory serves correctly, a booklet then published sought to establish a connection between Signor Gneechi's master work and Richard Strauss's Elektra, and arrived at the bold and surprising conclusion that Richard Strauss, in his melodies, harmonies and rhythms had been unduly "inspired" by the products of the Italian work. This statement was so ludicrous and so completely disproved by subsequent events that it requires no further comment here. But just why Nilius saw fit to unearth this long dead piece baffles understanding.
21CHAMBER MUSIC POPULAR
23The most encouraging feature of Viennese musical life is the continued interest in chamber music. Stars come and go, reputations are made and lost, but good chamber music still ruffles the best element of the city. First-class ensemble concerts with interesting programs are invariably well attended, even if their number is embarrassingly high, which recently happened when the Sedlak-Winkler, Dresden and Thorwald Nielsen quartets all gave concerts within four days, two of them taking place on the same evening.
25The Rosés now might be said to form the right wing of Vienna chamber music activities. Since the days when they faced roaring audiences, swinging threatening canes and umbrellas in protest against Schönberg quartets and their performers, they have grown conservative, and when they do produce novelties nowadays they are usually of the milder species. The Vienna String Quartet constitutes the left wing, its first violin, Rudolf Kolisch, being bound to Schönberg not only by bonds of friendship but by a common musical creed as well. The Sedlak-Winkler people, on the other hand, steer the safe middle road between the two.
27MODERN—AND MODERN
29The present Rosé idea of modernism was revealed at the quartet's latest concert, on which occasion the novelty was Karl Weigl's quartet, op. 20. Weigl never was an extremist and today less than ever. Brahms is the spiritual father of his new piece, but there are also reminiscences of Beethoven and Wagner. Here is a leaning toward the classics which almost borders on plagiarism. Classic in feeling, but minus the reminiscences, is Carl Nielsen's music. The Thorwald Nielsen Quartet of Copenhagen made its Vienna debut with a program entirely devoted to this national musical hero, and with a schedule ranging from op. 14 to op. 44 gave a cross-section, as it were, of the composer's development. It was an object lesson in the "relativity" of the term modern. That his countrymen should consider Nielsen their leading modernist is astonishing to those whose ears have listened to the cacophonous experiments and formal problems of the Schönbergs, Bergs, Hindemiths and Kreneks.
31Clear, transparent construction in the classic sense is common to both these Nielsen quartets. Occasionally the language is even Mozartian in feeling, especially in op. 44. This latter piece, with a fine adagio con sentimento religioso as a second movement, is even more clarified and tame than the earlier op. 14, which dates from a period far less modernistically inclined.
33KRENEK'S NEW GAMBOIS
35That the current notion of modernism varies with each nation, even with each composer, is demonstrated by no one more forcibly than by the enfant terrible of young Austrian composers, Ernst Krenek. It was not so long ago that the ingenious Ernst saw his mission in the renaissance of old forms, in rejuvenated and modernized Concerto grosso types and in problematic chamber quartets. Since then the young man has become acquainted with the world in general and metropolitan life in particular. So much so in fact that he seems to have thrown his old ideals overboard in favor of royalties (and they are large, even according to Gershwin standards).
37His Jonny Spielt Auf—this bête noire of present-day Germany, which despite its invariable slating by the press continues to be a box office magnet—has given rise to much speculation on Krenek's future development. This has been only partially satisfied by his latest product, four songs after old poems, for soprano and six woodwind instruments. These songs are not a big enough effort to warrant a symptomatic estimate, but they are just frivolous enough to inspire some apprehension. The poems are fervent, decidedly lyric specimens, tender, spiritual, poetic. Krenek's setting of the words is almost a parody on their beauty and meaning; music which mocks the diction and sense of the poems.
39Ruzena Herlinger, the first singer to interpret the new Krenek songs, did so with an imposing command of their enormous difficulties and with a consummate artistry worthy of a nobler cause. Her beautiful voice (and she is one of the few exponents of modern music who command this important asset) enabled the subject matter, though her gifts shone to greater advantage in the beautiful and, for this occasion, well orchestrated Gipsy Songs of Dvorák. In these Mme. Herlinger gave a perfect exhibition of vocal finish, interpretative style and emotional abandon. A chamber orchestra recruited from Philharmonic forces supplied a splendid accompaniment.
41BATTISTINI'S PENULTIMATE FAREWELL
43The big event of the recital season was the annual farewell concert of that great old veteran of song, Mattia Battistini. Farewell? This time it really seemed as though the long threatened event had come to pass. With the flowery symbolism of his native language, Battistini himself announced his recital as his "Swan Song." The swan, however, accomplished his last sigh—before a brilliant and enthusiastic audience—with such remarkable freshness that virtually half of his program was sung two or three times over. At the end, both Battistini and his hearers decided that the time had not come for farewell after all. So no one was surprised to read, next morning, that the singer thinks of flying northward again, for the really very last farewell.
45Chaliapin has paid Vienna his second visit; this time for the purpose of giving a recital. Mindful of the distressing difference of opinion which arose between him and the conductor of the Staatsoper last spring, everyone was relieved at the thought of hearing him with his own accompanist, and looked forward to a peaceful and orthodox entertainment. But alas for vain hopes! Chaliapin's platform manners are, apparently, too original and too internationally colored for provincial Vienna. We were baffled to hear a program minus a program, with Hugo Knepler, the concert manager, functioning as conférencier, to announce each number, and as referee for the duels between the singer and his pianist.
47Almost equally confusing was Chaliapin's colloquial attitude toward the audience, visibly calculated to create an "at home" atmosphere. But the public ultimately accepted all these irregularities as the seemingly inevitable paraphernalia of the international star. Only—why Chaliapin should combine his vocal feats with physical exercises, with little promenades and big gestures of hands and arms; why he should stamp the rhythm and call his pianist an idiot in front of the public—all this was beyond Vienna's understanding. The great basso's supreme vocal art and intellectual attainments, however, remained unmarrred by such incidents—though they suffered somewhat from persistently held high notes and astonishingly "original" tempi.
49Hardly known and little heralded, Anton Bilotti, announced as a Parisian pianist, dropped in one day for an orchestral debut in Vienna. He was better known when he departed, having been rewarded by ample applause for his performance of Beethoven's C minor Concerto. The occasion was one of the popular concerts of the Tonkünstler Orchestra, which has taken to the guest system for its Pops this season, and the conductor was Robert Manzer, who occupies the post of general musical director at Carlsbad. Manzer's reading of Beethoven's Fifth symphony made us wish for his early return.
51AN AMERICAN OPERETTA
53The distinction of opening the operetta season this year fell to an American author who modestly hides his un-American name behind a 100 per cent nom de plume. The piece is called Lady X. and is announced, somewhat misleadingly, as jazz operetta, but might more correctly be termed revue operetta. The jazz association probably accrues from the fact that this so-called George Edwards was one of the first to introduce jazz into legitimate music, and with success. But in this light work, now running at the Apollo Theater, there is too little jazz in the music and too much in the stage management. As a result the really gripping story is constantly interrupted by the appearance of irrelevant revue girls, while the exceedingly well-scored music contains no real hits.
55At the Theater an der Wien, Edmund Eysler has approached the task from the other end. In The Golden Mistress, as in his former pieces, he shuns the mundane attractions of cabarets, modern dances and operetta tricks generally, with a tenacity that is almost pathetic, clinging to the species that brought him his big successes of old, the sentimental operetta with the traditional Viennese waltzes. Are we weary of sentimentalism, or of waltzes, or do we merely need another Johann Strauss to revive the old style? However that may be, The Golden Mistress seems bound for the storehouse, notwithstanding a wonderful production of the true Theater an der Wien type. The operetta season has not opened any too auspiciously this year!
57PAUL BECHERT.
59FOREIGN NEWS IN BRIEF
61VIENNA OPERA COMING TO PARIS
63PARIS.—After negotiations which lasted two years it has finally been arranged that the Vienna Opera Company will give a number of performances at the Paris Opera from May 15 to May 31. The repertory will include the Mozart operas and Beethoven's Fidelio, with such artists as Marie Jeritza, Lotte Lehmann and Elisabeth Schumann. The chorus will be brought here in its entirety, as well as the costumes, stage settings and ninety members of the orchestra, under the direction of Franz Schalk. The entire French press has greeted the announcement with enthusiasm.
65N. DE B.
67REINER TO CONDUCT NEW MRACZEK WORK
69BERLIN.—It is reported here that a new work by Joseph Gustav Mracek, Scenes for Orchestra, will have its first American performance in Philadelphia under Fritz Reiner. The German première will be given in Leipzig under Furtwängler.
71ROLAND HAYES TO SING IN MOSCOW
73BERLIN.—The following artists have been engaged for the Moscow subscription concerts: Wilhelm Bachaus, José Iturbi, Joseph Szigeti, Roland Hayes and Andres de Segovia. Among the conductors are Bruno Walter, Otto Klemperer, Arthur Honegger, Ernest Ansermet, Hermann Scherchen and Paul Scheimpflug.
75T.
77NEW SCHOOL OF SINGING FOR ROME
79Rome.—A new institution for voice culture is being founded here under the patronage of Prince Potenziani, governor of Rome. It will be directed by Francesca Aldegia, who is well known for her special courses in singing, and will be opened November 16.
81D. P.
83GOVERNMENT OPERA FOR AUSTRIAN PROVINCES
85VIENNA.—The claim of the dissatisfied Austrian provinces, which contribute largely to the maintenance of the Vienna Staatsoper as an Austrian national opera house without partaking of its offerings, is at last to be satisfied. A plan is being worked out to supply the provincial cities—all of which had their own opera companies before the war, but had to abandon them for lack of funds—with operatic seasons at regular intervals; the singers to be recruited from the Staatsoper and Volksoper of Vienna. The plan requires a government investment of $105,000, which will shortly be furnished.
87P. B.
89VIENNA TO HEAR ALL-ENGLISH CONCERT
91VIENNA.—The Vienna Philharmonic Society has arranged to give a concert of English music in the Grosse Musikvereinsaal. It is intended as an expression of gratitude to the English patrons of art who lent their valuable pictures for the Exhibition of English Art which has been such a success here. After the official closing of the exhibition, on Nov. 6, the representatives of the Austrian and British governments and the diplomatic corps generally, will proceed to the hall, where the concert will be given at noon. The program is to include Elgar's Cockaigne overture, the Enigma Variations, and the Pomp and Circumstance March; Delius' On Hearing the First Cuckoo in Spring; Percy Grainger's Shepherd's Hey and the Londonderry Air; three madrigals, to be performed by the choirboys of the Hofkapelle; and four movements from Holst's Planets. The scores and orchestral parts will be specially sent from London. Paul Kerby will conduct, and the concert will be broadcast.
93B.
95LEHAR MAKES GRAND OPERA OF POLA NEGRIL FILM
97VIENNA.—It is announced that Franz Lehár is now at work upon a grand opera—the first one since Tatjana, which he wrote twenty-five years ago. The book is none other than Hotel Imperial, a screen picture, which Lajos Biro, Hungarian dramatist, wrote for Pola Negri.
99P.
101CONDUCTORS AND SOLOISTS PROMISED FOR AUGUSTEO
103ROME.—A number of interesting foreign conductors will be heard at the Augusteo this season. They include Pablo Casals, André Messager, Désiré Dufaux of Brussels, Georges Gregorcesco of Bucharest, Erich Kleiber of Berlin, Gregor Fitelberg of Warsaw, and Anton Fleischer of Budapest. Among the foreign violinists will be Fritz Kreisler, Mischa Elman, Adolf Busch, Carl Flesch, Ferenc de Vecsey and Yvonne d'Astruc. The pianists will be Rudolf Serkin, Vladimir Horowitz, Alexander Brailowsky and Arthur Rubinstein, while Casals and Arturo Bonucci make up the cellists.
105The list of native artists is no less representative. Among the conductors are to be Pietro Mascagni, Alfredo Casella, Ricardo Zandonai, Vittorio Gui, Adriano Lualdi, and Victor de Sabata. Violette d'Ambrosio and Leo Guetta are the two Italian soloists engaged.
107D. P.
109ATTEMPT TO ESTABLISH DUTCH OPERA MEETS WITH LITTLE SUCCESS
111THE HAGUE.—The Dutch opera company, Co-opera-tie, has just given a revival of Rhena, an opera by J. B. van den Eeden, who for many years was principal of the Conservatoire at Mons. This, together with last year's performance of Landrès Beatrys, is part of an effort to create a national Netherlands opera. Van den Eeden's work is well constructed, melodious and full of excellent emotional characterization, besides being extraordinarily well orchestrated. The story, which is supposed to be historical, is that of a priest who takes upon himself the blame for another's crime in order to save an innocent woman and also to avoid breaking the seal of confession. Two well staged and well performed productions under Albert van Raalte, with Liesbeth Poolman-Meissner, Anton Dirks and Johann Iseke in the chief roles, won high praise from the local critics, but failed to draw large audiences.
113H. A.
115HOLLAND HEARS TENTH PERFORMANCE OF MAHLER WORK
117THE HAGUE.—Mahler's Lied von der Erde was the chef d'oeuvre of each of the first two concerts given this season
119(Continued on page 44)
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