Classic Mode

Music Trade Review

Issue: 1880 Vol. 3 N. 11

10
THE MUSICAL CRITIC AND TRADE REVIEW.
January 5th, 1881.
our people did they think that the ability of the students could be judged almost wholly neglected in the musical rendition. For instance, where the
by this kind of exhibition ; and this applies also to the Opera Festival to maiden (who, with her lover, is on the boat, floating down the Danube, and
take place next February. Max Maretzek has been here but a few months, fishing up fairy treasures with her hands) unluckily chances to fall over-
and already we are called upon to see what miracles he has performed ! If board, the text says, vigorously: "He plunges in!—he grasps her strong,"
the " Cinderella " performance proved anything, it certainly was not that the Rheinberger quite fails to grasp the occasion, and sets these words to a
graceful calmato. Later on, where we read: " Behind the hills soon sinks
instruction given to the performers has been valuable.
It was a wretched performance, and though repeated several times, (and the sun," the word " sinks " is actually taken by the chorus with a rising
still more to come), but little improvement could be seen. A few of the note—all of which goes to show that Rheinberger is not Wagnerian, what-
leading persons in the caste, such as Miss Henninges, Miss Evans, and ever else he may be.
Messrs. Thomson, Sullivan and Wetherell, were equal to the demands, but
The remaining new things of importance on the Club's list were Gou-
the pupils who did sing, showed how sadly neglected must be the depart- nod's " Noel," for soprano, contralto, and chorus, and Gade's "Christmas
ment of chorus singing. There seemed to be a general misunderstanding Eve," with contralto and chorus. The soprano solo in the " Noel" was
too between the singers and the orchestra, and yet again a conspiracy on sung by Mrs. M. Slaghter Knight, who has a rich voice, and sings with •
the part of both to overthrow the irate maestro.
warmth and feeling. The contralto solos already named, besides two solos
It is a little queer that the local critics have gushed into praise of this by Bennett, entitled " Musing on the Roaring Ocean" and "May Dew,"
wretched slaughter of Rossini's opera. The Commercial, however, qualifies were sung by Mrs. A. H. Darling, who is one of the best singers in the
its statements with a "considering," etc. But we must not stop to " con- country and a musician of the first rank. Mrs. Darling is a sister of Miss.
sider " so long as people are asked to pay for admittance. If they were invited Ita Welsh, of Boston, whose singing at the Harvard and Handel and Haydn
to submit to such ear-tearing performances for the sole purpose of encourag- concerts at that city your correspondence from that point has frequently
commended. Mrs. Darling has been in the musical field longer than her
ing the pupils, it would be quite another thing.
As you already know, the College of Music will give a series of grand sister. She has a distinctly mezzo voice, neither very high nor very low; its
operas, in conjunction with the Mapleson company, in February. There is volume is not great, but its quality is remarkably agreeable, and it would
a division of opinion as to the effect of this enterprise upon the school. Col. be difficult to hear anywhere a more faultless method.
Nichols thinks that it will tend to encourage the pupils in the operatic
The programme would have been voted heavy if presented to any other
department, and many able musicians here agree with him. But if it amounts than one of those musical audiences which are always present at a Mendels-
to anything more than a sacrifice of three months to the college pupils, then sohn Club Concert. What great care is needed in catering to an audience
your correspondent sees things as they are not, and judges not very wisely. in this matter of programmes, apparently so trifling a matter to outsiders.
The real result of all such upheavals in our great music school is, that the I remember one evening, eight or ten years ago, when that excellent man-
pupils neglect real study in order that they may prepare themselves to ager, T. B. Pugh, had engaged Charlotte Cushman to give a list of miscel-
become victims on the altar of vanity.
laneous readings at the Academy of Music. Being anxious to diversify his
I would like to ask the gentlemen who " do " the musical criticism for programme he decided to have some musical numbers, and,in an unfortunate
the Cincinnati dailies what they were about on Christmas Day, that not one moment for himself, the musicians and the audience, he chanced to ask for
of them heard a really important composition, which was performed almost some suggestions from your present correspondent. I had the Schumann
within earshot of their offices? A new " Mass in C," by Hermann Auer, was fever very badly just then, and suggested the E flat Quintette. This is a
given for the first time (from MSS.) by the Cathedral choir, under the direction composition second to nothing, written in chamber music since the death of
of the composer. I was well repaid for my journey through sleet and snow, Beethoven. But imagine how tedious it must have been to the ears of three
and was delighted with a performance that justified the large audience that thousand people, all of whom were there to hear Cushman and nobody else.
crowded the spacious edifice. Mr. Auer is a very modest man, and yet I do Jarvis and Wenzel Kopta were among the players, and I never heard Kopta
not believe there is another in this city who could have written this mass. swear before or since, but he was " mad " at the cool reception given to the
It is scored with organ and orchestral accompaniment, and in spite of some quintette.
defects in performance, no one who heard it will soon forget the impresssion
Since that time Mr. Manager Pugh never asked my opinion about music
made by its beauty.
but once, that time he gave an entire Schumann programme of the "Man-
To some extent it reminds one of Cherubini, though I might better fred " music with Carl Sentz and a large orchestra, and Miss Emma Waller
say of Schubert, Avhose' masses bear an impress of the older master. to read Lord Byron's lines. The reading was an undoubted success, far
But there is no leaning upon set models in Mr. Auer's work ; the masterly ahead of Edwin Booth's, which proved a total failure, some years before, at
counterpoint of the old Italian master is lacking, but the quiet devotional the New York Academy. The music was also exceedingly well done,
tone, and the dignified style and deep feeling of a Schubert are there. Such although the choral numbers were necessarily omitted. But—money was
movements as the "Kyrie" and the "Agnus Dei," might be transplanted sunk, and now what manager would ever again aek my opinion ?
into some of the master's masses without creating any very unpleasant
To step from the sublime to some other elevation, we are just now hav-
sense of incongruity. This is strong praise, I know ; but, better than all, it ing the great pleasure of listening to the cavern mouthed vocalist, Emily
is deserved. As to its performance by the Cathedral choir, the fact is, tliat it Soldene. She is at the Chestnut-Street Opera House with a tolerably good
might have been made much worse, and so it might also have been far better, support. The week before Christmas is, by odds, the worst in theatrical
though this choir consists of only " crack " singers. The chorus sang out matters, and therefore it is not surprising that the Soldene business
with excellent effect, and the work of the small orchestra was fair. I under- during the first week was deplorable. For three nights she presented an
stood that Bishop Elder was so impressed with the music that he has English version of the " See Kadet" which did not go off nearly so well as
requested an early repetition of Mr. Auer's work. And I urge our local critics, when the company from your Thalia theatre produced it here in German a
for their own edification to go and hear it.
year ago. The rest of last week was devoted to Offenbach's " Genevieve
The " Messiah" drew a large audience to Music Hall on Christmas de Brabant, "which, like all French comic operas sounded dull and listless
night. It was confidently expected that the performance would eclipse any when done in English. This week they have given " Mine. Angot" and other
bright selections. By the way, I wonder what has become of "Madame
previous rendering of Handel's immortal oratorio. But it didn't.
The faults were so conspicuous, that had the director been any other l'Arcliiduc," the opera in which Soldene first appeared here? It was very
man than Theodore Thomas, our critics would have detected them readily funny, and was brought out afterwards in the original French by the Aimee
enough. What is there about the celebrated band-master that throws such Troupe, still more effectively. Soldene closes to-morrow night.
It would be unsafe to say as a general proposition, that a musical corre-
a mantle of charity over all he does ? His orchestra may clash, bang and
boom, obscuring the voices and rushing madly where few can follow, and yet spondent should deal with negro minstrelsy, and yet, when it was so very
tho critics fall down before him. This ought not to be. I say (in the inter- funny and so very good as that of the Haverly colored minstrels, there is no
est of truth) that the Christmas "Messiah" was not so good a performance harm in saying for it a good word en passant. The "genuine colored"
minstrels are now enlarged to 100 members, and another 100 of colored
as we have had before.
The soloists were as given in my last letter, with the exception of Mr. supers have been added to produce a grand Christmas plantation scene.
Lindau, tenor, who was replaced by Mr. Bischoff. Why this change was They are giving a ten days'season at the Academy of Music. It was "as
made, it is not easy to guess. Certainly Lindau would have done the work good as a show " to see the eager lines of people at the ticket window on
better. Miss Norton sang the soprano airs gracefully, but the talented Saturday, Christmas night. Three times Charley Campbell, the long
young lady is not at home in oratorio. Miss Cranch, contralto, was very experienced ticket seller of the establishment, closed his box window in
satisfactory, and Whitney, of course, was perfect. The chorus did their despair, and three times special policemen were sent for to straighten out the
lines and preserve order. It is said that over $1,500 was taken in at the box
work well.
The Strakosh-Hess Opera begin a week's performances, this evening, at window in addition to the large advance sales at the regular office. Very
soon all this scene will be changed, In a few days more, (January 10), His
Pike's Opera House.
The piano trade has been a little stirred up by the " advanced " style of Majesty's opera season will begin, and instead of rows of the less fashionable
advertising indulged in by a prominent Fourth street firm. " Standard of pleasure-seekers there will be still longer rows T of carriages, with bril-
pianos " are announced at prices varying from $200 to $300. If the Stein way, liantly costumed occupants. To-night the W est Philadelphia Choral
Decker, or other well-known makes of pianos, can be sold for such prices, Society will sing the " Messiah," but following out your latest instructions, I
there is small chance for what are called cheap pianos. However, if the firm will not delay this letter any longer, and must leave that and other patiently
HOWE.
alluded to do not mean that the instruments are of the sort I have just men- waiting items until another date.
tioned, they should fix some rule by which the word " Standard " would
have some meaning—at least so the trade here thinks.
BALTIMORE.
MEPHISTO.
A DEARTH OP MUSICAL EVENTS.— THE WEDNESDAY CLUB'S PARSIMONY.— THE
NEW ORATORIO SOCIETY.—THE PEABODY CONCERTS.—A MUCH-PUFFED YOUNG
VIOLINIST.—FRAUDULENT PIANO TEACHERS.—A GOOD CONCERT IN WASHING-
THE MENDELSSOHN CLUB. — PEAKLS BEFORE SWINE.— THE CAVERN-MOUTHED
TON. TRADE MATTERS.
SOLDENE.—MINSTRELSY.—HIS MAJESTY'S OPERA SEASON.—THE WEST PHILA-
BALTIMORE, Dec. 30. 1880.
DELPHIA CHORAL SOCIETY.
PHILADELPHIA.
PHILADELPHIA, Dec. 30,
1880.
"OEFORE you get this, all the ^harmony, as well as the discord, of 1880
_J3 will have entered into history. This brief letter, however, will give
some points in regard to both during the closing days of the old year.
There is nothing more appropriate with which to begin the list than the
concert of the Mendelssohn Club at St. George's Hall, on the evening of
Dec. 18th. The programme of this active society was, as heretofore, crowded
with novelties. I will run over a few to show how exhaustive and progress-
ive is the taste which dictates these programmes. One of the first in the
list was "The Lovers," by Rheinberger. '1 hose who have practised this
composer's organ music must have felt disappointed at this setting of " The
Lovers." The poem fairly bristles with dramatic points, b'ut they have been
OTHING is more difficult for a correspondent than to write on a subject
when it offers little material; yet that is the perplexing condition in
N
which your correspondent finds himself to-day, as there is an absolute dearth
of interesting musical events in our city at present.
Since my last, we have had more of the smaller amateur affairs, and one
concert by the Kate Thayer Company, which requires very little notice,
except that the house was good and Miss Thayer and the Spanish Students
were flatteringly received. This fills the quota of musical events.
Rehearsals are beginning for concerts by home talent, and, first of all,
those of the Wednesday Club, which will produce the "Elijah," Jan. 6th.
Now, the material for the chorus is pretty well adapted to give us an oratorio
in a satisfactory manner; but the difficulty which presents itself lies in the
January 5th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
11
fact that a small orchestra only is to be engaged, and thus Mendelssohn's ing, I believe, in the original score—three bass drums ; the crash is to be very-
work will be given in a distorted style, as no scope is offered to display its strong, but also very abrupt, as Berlioz gives directions to the drums, to
instrumentation. This fashionable club should eschew one or two costly " smother the reverberation with the hand." This essential burst, was done
receptions each season, crediting the sum thus saved to the musical features in a timid and ragged manner,—as if the culprit were being slowly beheaded
of the club, and not sacrificing the oratorio for a small sum. A small sum with a dull jack-knife.
it is as compared with the reputed wealth of the club's members. The club
The last movement was well played, although we found a piano to be a
may be termed a close corporation. Close or open, when a musical work is very poor substitute for the funeral bell. Spite of these faults the associa-
presented it should be done properly, or not at all.
tion and the conductor are to be congratulated on a very meritorious perform-
Prof. F. Fincke, of the Peabody, is the director of the Wednesday Club ance ; it is only a pity that the few faults should have taken place in such
•horus. Prof. Fincke has also been elected director (temporarily or perma- important passages.
nently, I don't know which) of the Oratorio Society, which has just been
M. Timothie Adamowski did some of the best work which he has ever
formed here. As this is an organization which has just been created, no done in Boston, in Buck's G minor Concerto. He is a meritorious artist, but
idea of its capacity can be formed.
at times subject to nervousness ; when this feeling is absent, as I think it was
The " Messiah " is underlined as the first work to be produced. It on this occasion, his playing is in the highest degree enjoyable. Mr.
seems to be a settled fact that we are not to have any of the modern works Clarence Hay sang the Catalogue Aria (Leporello) from "Don Juan," and
of the cantata or the oratorio order. The German singing societies now and displayed his voice finely in it, but the buffo style was not present; it was
then produce a new work, yefc, under such small auspices, that the full sung too smoothly.
strength and the extent of the works cannot be realized. As we know,
Close following on the heels of the above symphony of diablerie came
Chicago has lately given Eubinstein's "Tower of Babel," and other citie more trouble of the same sort in the shape of the " Faust Symphony " at
also produce new or modern works, yet we must be satisfied, year upon year, the fourth concert of the Philharmonic Orchestra, Dec. 17. There has been
and decade upon decade, with Haydn and Handel.
more musical brain-power expended on "Faust," than I can compute.
The Peabody subscription has begun, and I will soon be able to report Goethe has much to answer for. As a work, this " Symphony " is full of
the first concert of the season. It is hoped that a better balanced and more refined and even metaphysical touches, and endeavors to elevate instrumental
competent orchestra, and, most of all. more varied programmes will be music into a sort of philosophy. In this lies its weakness; it attempts to do
offered than during the past seasons. The orchestra should be stronger in too much; it strives after the infinite, and tries to attain the impossible.
the reeds and a better quality of brass is wanted. The first violins should The themes of "Faust," of the " World," and of "Marguerite" are admi-
rably chosen, the latter being, in fact, a well-rounded, definite, and delicious
be increased.
Apropos, speaking of violins reminds me of a remarkable genius at melody. The portrayal of the entrance of Fmist (by his motif), and of the
present here. He is a young man whom the local papers have praised to an bliss of the lovers, is of the best modern school, and reminds unconsciously
immense extent, and one journal calls him the "Young Paganini." The of "Lohengrin " (3rd Act); and it is strange that the two modern orchestra
boy being a Baltimorean, it is due probably to this fact that praise i masters should have sought the same means of expression. The "Mar-
sounded in his behalf. Let me assure you that he does not know how to guerite " movement, I hope, will be frequently given in concerts; its intent
hold the violin, and of bowing he knows absolutely nothing. Apparently, at is clear, and can be fully appreciated by the general public. The ironical
the outset, quite a good and well-meaning boy, inordinate praise has had the spirit of the " Mephistophele " movement, which burlesques the longinga
effect of impressing him with his own importance, and he has come to the of Faust, as expressed by his motif
conclusion that he is really a violinist. To cap the climax, a manager
recently put him at the head of a country orchestra. The boy, as I said
before/ is a good boy, but he has mistaken his calling, so I suppose l
parents or guardians must be charged with causing this ridiculous buffoon-
ery. This is only one instance among many I could cite of the absurd effect
of provincial praise. I could tell you of piano teachers, so thoroughly unfit and the scoffing at the innocence of Marguerite
for their positions that they always succeed in ruining their pupils. One of
these has recently advertised the startling fact, that pupils taking instruction
from him '' will know more about the pieces after the first lesson than they
did before." How remarkable! " Splendid teacher" is the common cry,
and yet he don't know how to play the C major scale ; this is a positive are touches of high thought, touches which can be accurately understood (as
fact. Nevertheless, he has about forty pupils, and he keeps his eyes con- can the "Marguerite" movement) by the musical auditor if only the title be
stantly open for more.
given as clue.
But I have already broken my good intention of simply reviewing the
Several artists well known in Baltimore, gave two concerts on Dec. 27
and 28, at Abner's Music Hall, Washington. The company consisted of performance. I would not feel disposed to carp, were the defects ten times
Mme. Teresa Carreno, pianist; Miss Jenny Busk, soprano ; Mr. Christian as many, for two reasons :—1st, the orchestra are really striving for an ideal,
Fritsch, tenor, and Mr. Louis Blumenberg, the solo violoncellist. Both the director believing in the modern school and working with might and
•oncerta were artistic successes and were attended by the elite of the lega- main to give the best specimens of it to Boston audiences ; the orchestra,
tions and a Cabinet Minister was also attracted. The artists were all first- share in much of his enthusiasm and certainly submit to a most rigorous
class. Miss Jenny Busk resides in this city and is without doubt the most drilling, and numerous rehearsals, without adequate compensation. 2nd.
finished cantatrice here. She is a conscientious and cultivated artist whose It is better to hear such works imperfectly than not at all. By this I do not
proper sphere is in a large musical community. Mme. Carreno is also well- mean to say that there were great imperfections. The first movement was
known here, and Mr. Christian Fritsch has many friends both here and in well given save that the strings were overbalanced. The second movement
the Capital. Blumenberg, the violoncellist, is a native of this city, but is was throughout expressively done. The Mephistophelian movement was
poorly given. The orchestra rushed about in the chromatic sea, which
absent most of the time concertizing.
has prepared to engulf his performers, and blurred a good deal. But
Trade was very active in the piano, and (especially) the organ lines last Liszt
the climax was reached when the chorus began. This is where Liszt
week. Upright pianos have been gaining much in popularity, and are intended
the climax to be, but in this case, it was the wrong sort of a climax.
gradually superceding other styles with the public.
The blame is not wholly to be placed upon the chorus, for the conductor
The piano controversy between the Steinway and Weber agents has died was
not able to hold them well together, and the soloist, once out of time,
out altogether, leaving things in much the same condition as before the and subsequently
out of pitch, misled them badly. It was a pity that after
the battle raged. Happy New Year !
KLASSICK KUSS.
all the trouble which the orchestra had taken, the work should have come
to so lame an end. Had there not been a timely rest, which afforded a harbor
BOSTON.
of refuge, and an opportunity for a fresh start, the affair would have capsized
THE THIRD HARVARD SYMPHONY CONCERT FOURTH CONCERT OF THE PHUiHAR- and the end never have been reached at all. It was very amusing to see a
MONIC ORCHESTRA.—CONCERT OF THE CECILIA CLUB
HANDEL AND HAYDN number of sesthetical persons find in these hastily improvised harmonies,
SOCIETY
the glorious reality of Liszt; they thought he was painting Pandemonium,
-
BOSTON, Dec. 30th, 1880.
* s 8 o u l g o u ^ • This fact may n o t be entirely new t o your readers, and making it as natural as possible.
The entrance of the chorus was also a trifle singular ; taking advantage
but it has all the charm of truth, and speaking of truth, reminds
me that Mapleson's Opera troupe is here. How many of his promises are to of one of the softest passages, they straggled heavily on the stage in clumps
be kept, deponent knoweth not; but as the doings of the company have of from two to twenty ; a material improvement on Liszt's directon—Das
been so thoroughly noticed in your columns for some time past, I will chor tret hier langsam undfeierlich auf. '' Here the chorus are to march slowly
and solemnly on."
promise to avoid the subject as far as possible, and write about music.
I must not omit to mention that Mr. Adolph Fischer made an excellent
Now the question arises, are Berlioz's " Symphonie Fantastique " and
Liszt's " Faust " Symphony—music? I think they are, and very great music impression at this concert by his violincello solos. In the " Golterman Con-
too (although the latter shows too much modern philosophy and intellectual- certo " his playing was of great virtuosity, and expression was not lacking
ity) ; but, undoubtedly many of your readers will disagree with me, so I in his performance of a " Chopin Nocturne." His tone is full and pure, and
will avoid analyzing the works, which has already been done copiously both his general playing unaffected and musicianly.
by my pen and more experienced ones, and confine my remarks to the
Another important event which has occurred since my last letter was
performance
of the two masterpieces. The " Symphonie Fantastique " was the concert of the Cecilia Club, Tremont Temple, Dec. 13th. The pro-
1
the leading number at the third Harvard Symphony Concert. Taken as a gramme on the occasion was of high order, although no large works were
whole, it was better played than it has yet been in Boston, but examined given. In fact, the selections were even above the appreciation of the excel-
per se, it exhibited a few flaws to the critical ear.
lent audience. Bach, Mendelssohn, Grieg, Hofmann, Rheinberger, followed
The first and (especially) the second movements were well rendered, but each other in rapid succession. Mmes. Noyes and Hooper, Misses Welsh and
the dialogue of the shepherds in the "scene in the fields '" was spoiled by Abbott, and Messrs. Want and Bullard were the soloists, and all did very well.
The Bach cantata, " God's Time is Best," was given both with good
irregularities on the part of the oboe. It is always dangerous to make mis-
fcakes in the solo passages of modern works, for the sublime in them stands shading and refined expression; it is beautiful, even in the modern sense.
proverbially near to the ridiculous, and the grandiose or naive effects are The Mendelssohn "43rd Psalm " and the motet, " The Good Shepherd,"
easily overturned by inadequate execution. What a fine contrast the abso- were also deserving of praise, particularly the robust unison passages of the
lute tenderness of this movement (clear in its purpose, even to the veriest former. Rheinberger's " Willow Tree " did not seem to present a strong pic-
"intention-finder") affords to the intense power of the next,—the "march ture of the words, and lacked effective contrasts, though not interesting con-
to execution !" The shuddering gloom of the deep horns and bassoons, the struction. It pales before such vocal tone-pictures as Rubinstein's "Pine
press of the crowd, the sound of many footsteps, the arrival at the scaffold, Tree." Hile's "Finland Love Song " was also rich in unison passages, which
the last thought of the loved and murdered one, the stroke of the axe, the were strongly given; but the composition scarcely attains what it aims at—char-
quivering bleeding corpse, are all of the most graphic power, and only com- acteristic effect. Grieg's cantata, " At the Cloister Gate," has a strange and
monotonous dialogue nearly all the way through, which may be made inter-
parable to the great and cruel painting of the old Spanish masters.
Here also a blemish came to mar the picture ; the stroke of the axe is, as esting by orchestral treatment, but was not strikingly so with piano accom-
you know, represented by one terrific crash by the whole orchestra, includ- paniment. The alto solo was at one point too deep for Miss Welsh's

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