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Musical Courier 1928-07-26: Vol 97 Iss 4, 1928
75 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Hindemith's Cardillac Has Surprise Success in Berlin
3Groping for a New Form—A Sensational Rheingold Production—An Interesting Broadcasting Experiment—A Gluck Première—The Handel Festival at Kiel
5BERLIN.—The first Berlin performance of Hindemith's opera, Cardillac, which was recently given under Klempener's direction at the Staatsoper am Platz der Republik, was something in the nature of a revelation. This work, which had its premiere in Dresden nearly two years ago, and has since been given in many other German opera houses, consistently failed to make the impression that was expected of it. Consequently the house was half empty on the night of the Berlin première, in spite of Klempener's openly expressed admiration for the opera, and the passionate energy with which he prepared the performance.
7Thanks to his interpretation, however, the fine musical qualities of this curious score were clearly brought out and public enthusiasm ran high, Hindemith, Klempener and the singers receiving boisterous ovations.
9In Cardillac Hindemith seems to be searching for a new musical form between opera and the oratorio, very much like Stravinsky in his Oedipus Rex. But his dramatic action is irremediably weak, and no adequate substitute has been made. I feel that in time both these composers will remove their semi-dramas from the theater and arrange them for the concert hall.
11A word of praise is due the singers in this performance. Fritz Kremm, as Cardillac, was excellent. He evidently made a close study of Chaliapin's manner during the latter's visit here and, as a result, gave a powerful portrayal of the character. Fidesser's fine tenor voice, and the splendid singing of Felice Hüni-Mihacek and Violetta de Strozzi deserve special notice. The chorus also was admirable. The only feature of the performance that proved a disappointment were Dübberg's stage settings, which, with their grotesque, cubistic exaggerations, their almost offensive plainness and complete lack of Parisian local color, were entirely out of place.
13A SENSATIONAL RHEINGOLD
15An event of an entirely different character but even more sensational in its way was the recent lavish production of Das Rheingold at the Staatsoper Unter den Linden. Up to now the technical marvels of the newly-built stage have not been very evident to the observer, but this performance brought them into full play. Emil Pirchan designed the scenery and achieved effects of color and motion that are unique in operatic history.
17The first scene was startling with its impression of deep water in which the Rhine Daughters actually swam about like fish, making leaps of from 20 to 30 feet with astonishing agility and quickness. No less impressive was the journey of Wotan down to Nibelheim. The stage first represented a rolling, green meadow on which Wotan and Fricka were asleep. A vision of Valhalla, a mighty castle of shining white, could be seen in the sky like a fantastic fata morgana. Suddenly the scene began to rise slowly but steadily, and the interior of the earth became visible, with its rocks, its rivers and its glowing flames. By the time the world of the gods finally disappeared the realm of Alberich and the Nibelungen had been reached.
19Musically, the performance was also remarkable. Friedrich Schorr, Karin Branzell, Maria Müller and Leo Schützendorf, in the principal roles, formed an unusually excellent cast. Kleiber conducted, interpreting the score in a less monumental fashion than usual, treating it more in the manner of chamber music, keeping the parts transparent and thus giving surprising distinctness to the declamation of the singers.
21OPERA WITH LONG-DISTANCE ORCHESTRA
23Germany is nothing if not progressive, and an even more modern performance than either of the two already described has been given in Potsdam. It consisted of nothing less than the singing and acting of two little Offenbach operettas to the accompaniment of an orchestra playing in Berlin, about ten miles away. This experiment was made by Dr. Erich Fischer, who has made a special study of the subject. His method of procedure is very simple. The conductor is assisted by a pianist who plays the music according to his beat on an almost dumb piano, which, however, transfers the desired time and rhythm to the distant orchestra by radio. The playing of the orchestra is rebroadcasted and amplified in the theater by means of loud speakers.
25The actual effect, while by no means ideal in tone quality or precision, was nevertheless surprising. With further improvements it may some day be possible to hear opera performances in small towns that cannot support their own orchestras, and many other new perspectives of musical culture would thus be opened.
27How much these and similar problems occupy progressive minds in Germany was revealed at the Congress for Broadcasting held in Goettingen, where experts from all parts of the country discussed the matter on a scientific basis. The present situation and the outlook for the near future were clearly defined by such prominent authorities as Professors Kestenberg and Schünemann, of the Berlin Hochschule, Max Butting, Prof. Mersmann and Dr. Hans Fischer, also from Berlin, Dr. Heinitz from Hamburg, Conductor Szen-drai from Leipsic and many others.
29BERLIN HOCHSCHULE GIVES REMARKABLE EXHIBITION
31The Berlin Hochschule, in fact, takes the lead in most of the experiments. It was there that the Potsdam orchestra was situated and it was also there that the first attempt at long distance conducting was made, several weeks ago. But while this research work is being carried on, regular musical instruction is not neglected and the recent public hearings for the year brought forth surprising results. Among others Artur Schnabel's pupils did honor to themselves and their master in two long programs. These seven young men and girls are all gifted with extraordinary talent, developed to a degree of technical finish and artistic maturity which promises well for their futures. One of them is Leonard Shure, a Chicago boy who has profited so well from Schnabel's teaching that one may predict a successful career for him.
33Another is Ludwig Heimlich, a Hungarian, who played Pleyel building. His body was found in the bath room of his suite, near the window. He had evidently tried to escape through that opening, but his foot had become wedged between two plumbing pipes, making him a prey to the dense smoke. A number of others, including an American girl, were overcome, but, so far as known the only fatal casualty was that of Denton.
35Samson and Delilah for Worcester Festival
37Novelties to Be Included—Chadwick Composes Song Book—Salzedo and Dale at Stillington Hall, Boston—Cambridge Music.
39BOSTON.—The Worcester County Musical Association will present in its October festival six unusually attractive programs. Purcell's opera in English, Dido and Aeneas, and Psalm XLVII by the contemporary Frenchman, Florent Schmidt, both to be played on the first evening, are indicative of the heterogeneous composition of these programs. One concert, however, will be devoted entirely to American music, for the association has always prided itself on its zeal in furthering the cause of native composers. The festival will reach its climax in a complete performance of Samson and Delilah.
41The New York Symphony Orchestra, long an institution at these festivals, no longer exists, but many of its old members will return. As usual, Albert Stoessel will conduct. This capable musician is as popular in Worcester as he is in New York.
43The group of artists will include Margaret Matzenauer, Merle Alcock, Paul Althouse, Everett Marshall, and William Gustafson, all of whom have sung with the Metropolitan Opera Company; Gina Pinnera, whose work was well received in New York this season; Mina Hager, formerly with the Chicago Grand Opera Company; Dorris Doe, popular contralto; Katherine Bacon, who recently played all of Beethoven's piano forte sonatas in New York recitals; Robert Elwyn, the Red Feather of Cadman's Sunset Trail; and Lajos Shuk, talented Hungarian cellist. Apparently there is no reason why the festival this year should not be at least as successful as those of the past.
45NEW BOOK BY CHADWICK
47George Whitefield Chadwick, dean of American Composers and director of the New England Conservatory of Music, has just completed a series of short compositions. The work, not yet published, will be called Holiday Songs. It includes songs for every one of our holidays; even Armistice Day is represented. The book is meant for the most part to serve as a guide to choral work for high schools, community singing, etc. Its author, at the age of seventy-five, is still intensely active both in administration and in composition.
49JOINT RECITAL IN GLOUCESTER
51The first of the Stillington Hall concerts took place on Friday evening, July 13. These concerts are presented by Leslie Buswell in the little theater which he has built on his Gloucester estate. The audience, chiefly North Shore residents, constituted just the sort of select and cultured group before which every true artist loves to perform. In this instance the fortunate musicians were Esther Dale, soprano, and Carlos Salzedo, harpist. Miss Dale was at her best in German songs and in a new dialect comedy song by Carpenter. She was also roundly applauded for her rendition of Kaddisch.
53A little murmur of approval by the audience followed almost every selection Mr. Salzedo played. He was particularly splendid in the performance of his own compositions, written of course with a special and trained eye to harp technic. He also played Three Favorite Melodies which included Deep River.
55In a short curtain speech Mr. Buswell congratulated his audience on having braved a miserable and unduly extended rainstorm. Your correspondent, who had splashed all the way from Boston to attend this concert, felt that the congratulations were intended particularly for him. In Gloucester they have only two kinds of weather—bad and unusual.
57MUSIC IN CAMBRIDGE
59On July 17 the American String Quartet of Boston, composed entirely of women, played to a large gathering at the Fogg Art Museum. The program consisted of a Haydn quartet, a Beethoven theme with variations, and the Brahms piano quintet. The fifth member of the quintet was John W. Duke, pianist, whose work appeared clearly as the feature of the evening. The ladies played just well enough so that it was not unpleasant to listen to them; but in general they lacked color and firmness of attack. They were doubtless hampered by the fact that a substitute replaced one of their regular members.
61On July 18, Arthur Main Phelps, organist and director of music at the cathedral church of St. Paul, gave an organ recital at Appleton Chapel. At his best Mr. Phelps is very nearly perfect, and Mr. Phelps is always at his best. His rendition of Galileoti's Offertorio is not readily forgotten. Phebe Davison sang two numbers, one of them from Haydn's Creation. Miss Davison has a small voice, but a beautifully modulated one and she sings with rare charm and understanding. If applause were permitted in Appleton Chapel, Miss Davison and Mr. Phelps would have been driven to encore after encore. one of two readings
62On July 18, Arthur Main Phelps, organist and director of music at the cathedral church of St. Paul, gave an organ recital at Appleton Chapel. At his best Mr. Phelps is very nearly perfect, and Mr. Phelps is always at his best. His rendition of Galletti's Offertoire is not readily forgotten. Phebe Davison sang two numbers, one of them from Haydn's Creation. Miss Davison has a small voice, but a beautifully modulated one and she sings with rare charm and understanding. If applause were permitted in Appleton Chapel, Miss Davison and Mr. Phelps would have been driven to encore after encore. one of two readings
64W. L. G.
66WALTER DAMROSCH, distinguished conductor, and his wife, who recently arrived home on board the Aquitania. Mr. Damrosch will introduce George Gershwin's new work, An American in Paris, at the Philharmonic Orchestra concert on October 26. This next season Mr. Damrosch's lecture symphony concerts for children will be a permanent feature of the programs of the National Broadcasting Company. (Photo by Cosmo News.)
68Oliver Denton Dies in Paris Fire
70Salle Pleyel and Salle Chopin Destroyed—New Halls Were Less Than Year Old—American Pianist Suffocated in Studio Bath Room
72A disastrous fire which destroyed the new Salle Pleyel and Salle Chopin in Paris on July 19 resulted in the death of Oliver Denton, prominent American pianist. The halls, which had been opened to the public only last fall, and which were counted among the finest of their kind in Europe, were completely gutted, only the walls of the building remaining.
74Oliver Denton, widely known as a soloist and teacher, had been connected for the past three years with the Institute of Musical Art in New York City, and had only recently taken twelve of his pupils to Paris, where he had a studio in the
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