Classic Mode

Music Trade Review

Issue: 1880 Vol. 3 N. 6

October 20th, 1880.
THE MUSICAL CRITIC AND TRADE REVIEW.
She has a good deal of execution, and showed some roulades, which testified
her earnest studies, but her voice is small and insignificant, and Mile. Schaef-
fer will find it hard work to bring herself into rapport with an American au-
ME. CONSTANTINE STERNBERG'S CONCERTS.
dience.
"Mignon," last season, one of Mr. Grau's best performances, was this
E. CONSTANTINE STERNBERG, the Russian pianist, made his first
appearance in America at the Academy of Music, on October 7. The time the weakest representation this generally conscientious manager has
,
name of the artist had been largely advertised beforehand, and expec- offered to the public.
After the performances of "Mignon "the representation of "Girofle-
tations had been aroused to a high pitch; and it is only fair to say that, to
the majority of the audience, Mr. Sternberg proved a disappointment. This Girofla," felt like healing balm laid on an open wound. It was really a con-
is a fact, an undeniable fact, and facts must not be disguised. But it is not solation, after the mournful rendering of Thomas' opera. Mile. Paola Marie's
less fair to add that the disappointment Mr. Sternberg created, was not his impersonation of the dual character is well known, and Duplan is as funny
fault at all. Every new pianist who makes his debut at our Academy of as ever. Tauffenberger made a lively and graceful Marasquin, and Nigri sang
Music, will be more or less a disappointment. The place is not suited to and acted the part of Mourzouk in a manner highly commendable. The per-
piano performances, and it is hard for a virtuoso to make a stirring effect. formance on the whole was very enjoyable.
The representations of Mr. Grau's company in New York will terminate
And Mr. Sternberg is not a virtuoso, in the ordinary sense of the word. He
is a thorough musician, and his piano playing is invested with all the knowl- on Wednesday next, after which date the troupe will embark directly for Ha-
edge of a musician. He is free from trivialities, and his conceptional powers vana and South America.
are strong.
HAVERLY'S THEATRE.
We think that Mr. Sternberg was not fairly judged after his first appear-
ance here ; he is one of the few pianists who grow upon their listeners. His
DUDLEY BUCK'S OPEKA "DESERET."
playing is so thoroughly musical, is so void of dazzling qualities, which take
on the spot, that we can understand the general public does not take kindly A FTER several weeks constant rehearsals Mr. Dudley Buck's comic opera
to him at once. We see now how it will be. He disappointed at first; then J\_ " Deseret" was produced before the American public on Monday, the
they began to become aware of his sterling qualities, and finally they will llth inst. We have here to deal with a work thoroughly American.
recognize him as an excellent artist. He is not the man to tire an audience, Author, composer, artists, place of action, plot, everything American ; and
because his repertoire is rich, and shows versatility.
it is certainly a fact, which cannot be disguised, that it must fill the nation
* At his first two concerts he had the assistance of a large orchestra, with pride to have in their midst a man of Mr. Dudley Buck's talents and
conducted by Mr. Gotthold Carlberg, and performed the Scharwenka Con- merits. His name is well known throughout the country ; and having gained
certo. This composition has only been performed twice in America—once by the prize at the last Cincinnati festival, has become familiar to those who
Mdnie. Madeline Schiller, the other time by Mr. Bernhard Bockelmann, and only indirectly come in contact with music. Mr. Buck is a musical scholar,
is consequently comparatively unknown here. The work has been recog- known as such, and highly esteemed among his professional brethren. If,
nized in Europe as one of the most prominent modern works, and even nevertheless, his comic opera cannot be pronounced a success, it is hardly
Franz Liszt spoke about it in the most nattering terms. The composer gives right to hold him responsible for the result.
up the usual form, throws the slow movement into the first part, and makes
According to our idea, a comic opera must be either funny or sparkling.
the second movement the scherzo, which is the principal feature of the con- The plot must be interesting, and the public must be amused. People who
certo. The entire concerto is rich in traits of genius, and shows the great listen to the performance of an opera comique, do not care to trouble them-
talent of Scharwenka to the best advantage.
selves about counter-point; the movement itself has to carry them, or they
Mr. Sternberg played it like an excellent pianist and a musician of high never will be carried. We have the sparkling French opera comique (not to
rank. Even if he occasionally blunders, he never loses his artistic balance, be confounded with opera bouffe), the more robust but humorous style of
and is never in doubt about rhythmical precision. The orchestra accom- German comic opera, and the Italian opera buffa, which is funny and ad-
panied the difficult work with delicacy and good coloring, especially notice- mits occasionally some bits of the clown business. The well-known attempts
able in the second movement. Mr. Sternberg played as solo pieces three of English writers recently, cannot count as yet in musical history. But it
musical bijoux, by Grieg, and Liszt's " Rhapsodie Espagnole." The Liszt com- seems that the success of Sullivan and Cellier has aroused Mr. Buck's am-
position is hardly known here, and we do not think that anybody needs to bition to do for our country what the foreigner has given us, and "Deseret"
feel grieved about it. It is true it is rhapsodic in the manner of Monsieur is an outgrowth of the " Pinafore " rage.
l'Abbe ; on the other hand, it is so long-winded with little bits of themes,
Whether Mr. Buck has exactly the talent for the comic opera style, we
that the listener gets tired, and has no feeling of satisfaction, as after the have reason to doubt, although if he had, his attempts would be neutralized
by the tameness of such a libretto. Mr. Croffut, well known as a brilliant
"Rhapsodies Hongroises."
The orchestra opened the concert with Meyerbeer's brilliant overture, writer, evidently knows very little of the stage and its effects. You can
" Struensee," and gave as orchestral piece de resistance Wagner's "Procession write a splendid feuilleton, full of wit and humor, and entertain your readers.
of the Gods," from Rhinegold, the latter work for the first time in New York. The same wit from the stage may appear dull and lose the effect, well pre-
pared and well intended. Whether brilliant or not, the stage effect must be
The orchestral performances were heartily applauded.
Mr. Sternberg's talent was acknowledged at the Academy of Music, es- painted with broad, even crude outlines, and the puns must have their sharp
pecially by musicians, who appeared in full force; but he cannot claim to edges, if they are calculated to take with the audience. Gilbert understands
have made a deep impression. We do not think that as a mere pianist he is a the secret, and can be taken as a pattern.
The French comic opera dispenses with puns and makes the plot and the
specialty ; but his conceptional strength, and his manner of phrasing, stamp
him with the mark of something which is not to be found every day among situation amusing instead. Characters of French comic opera are generally
impersonations which could be taken right out of the frame and put into the
artists who perform on the piano.
Mr. Sternberg found the first acknowledgment of his merits at a matinee comedy. Of different nationality, with different style—nevertheless—as there
given on Wednesday last at the Madison Square theatre. He performed on is something of the French vivacity in the American nation, we should think
this occasion works by Liszt, Chopin, Moszkowski, Scharwenka, Saint-Saens, that an imitation of the style of opera comique would be welcome to them.
and some of his own compositions. In all his playing he gave proof of a "Deseret" occasionally has a comic effect through situations which are
strong individuality, blended with artistic objectivity. He was supported by really well invented, and really form the principal merit of Mr. Croffut's
Miss Anna Drasdil, the violinist J. B. Poznanski, Toedt, the tenor, and G. work. And this libretto was accepted by Mr. Dudley Buck with the intention
W. Colby, accompanist. These Wednesday matinees will be continued for of giving this country a comic opera of sterling value. The composer went to
several weeks, and it is not unlikely that during that time the Russian pianist work with the will of a serious musical man, and we have received a work of
•will perform some more extensive works with orchestral accompaniment in sterling value, it is true, but not by any means a comic opera.
The musician takes delight in the manner Mr. Buck has treated the or-
evening concerts.
chestral and the choral part of the opera. He may be enchanted with rhythmi-
FRENCH OPERA.
cal fineries, for instance—in the song of the soprano, in the second act ; but
MIGNON—GIROPVLE-GHMXFIiA.
nevertheless we constantly feel that we have before us a man whose talents do
R. MAURICE GRAU gave a few performances of " Mignon," evidently not lie in the territory of comic opera. The broad style suits him best; and
for the sole purpose of introducing some new artists to the public. The the ensemble-finale, taken as a sample, would be highly effective, even grand
representation on the whole was bad, or let us call it vile, really the most signifi- as " Hallelujah" in a church on Easter Sunday. We have not too many honest
cant term which can be applied to it. The orchestra was entirely out of and talented composers in America ; it is therefore our earnest wish that Mr.
joint, and scratched and scraped through the different numbers, as if they Buck would find his labors rewarded, but we should think that serious opera
were paid extra to play wrong notes. Of shading and delicacy nothing was would carry him sooner and more effectively to his aim.
to be heard, and M. Almeras, the chef d'orchestre, fought the air violently Much of his music of " Deseret" is really thoroughly operatic, and
with a baton of enormous size, but to no apparent avail. The work on the especially the soprano is treated in a manner which is heavy enough for more
stage was done with more exactitude, and Mile. Paola Marie, in the title role, serious work. Friends of the composer took great interest in the production
took the principal share of the honors, and deserved it. Her Mignon is to of " Deseret," and showed their friendly feelings on the first few nights.
our taste, her best character, is sympathetic, brilliant, and full of that spirit But friends cannot carry a whole season, and we do not think that the general
which should rule opera bouffe. The three debutants give the impression of public throughout the country will be sufficiently attracted by " Deseret"
three amateurs, or, if not that, beginners, who stepped on the stage for the to make the venture a great success. The opera is well cast, and Mme. Polk
first time. Everybody must make a beginning, it is true ; but whether the and Miss Belle Cole are excellent artists, whose voices show to best advan-
tage. The male performers are less brilliant, but good, and do their duty
city of New York is the place suited to such experiments, is doubtful.
M. Mauras is an agreeable man ; he reminds us of Capoul, and has a with more or less effect. The chorus is strong, and shows the training pow-
light voice of rather uncertain timbre, an organ which you cannot classify ers of the composer. " Deseret" will be played in New York for the last
after first hearing. It appeared as if M. Mauras forced his voice occasionally time on Saturday night, after which date it will be taken on the road.
and produced a huskiness, which did not add to the charm of his perform-
ance.
CHICKERING HALL.
The tenor was very well received and much applauded. M. Bernard,
PAULINE NININGER'S CONCERT.
the baritone, has a nice voice, but is one of the most uninteresting singers we
ISS MARIE PAULINE NININGER, having returned from Europe
ever have met with on the Trench operatic stage. His Lothario was void of
after a career of several years in Italy, gave a concert at Chickering
characteristics ; a singer, clad in rags, with a kind of property harp, prom-
enaded the boards ; that was about all ; there was no poetry, there was no Hall on Thursday last, under the management of Mr. Geo. W. Colby. The
conception, and it seems that M. Bernard is better fitted for concerts than hall was filled by a numerous and refined audience, and the clever manage-
ment had undoubtedly something to do with its cheerful appearance,
for the stage career.
The failure of the performance was Mile. Josephine Schaeffer, who sang although Miss Nininger is said to have many influential friends here. The
the part of Philine. Mile. Schaeffer is a wiry girl, with a wiry voice, which lady sang "Polacca," from " Puritani," aria "Finale," from " La Somnam-
has been well cultivated; is no actress at all, and did not give the impression bula," and the grand aria from " Der Freischiitz." Her voice is formed after
of a coquettish actress, but had the air of a chambermaid in a silk dress. the Italian method, which reduces volume of tone by means of continual
MUSICAL REPRESENTATIONS
M
M
M
8
THE MUSICAL CRITIC AND TRADE REVIEW.
October 20th, 1880.
vocalization. The organ is not so strong as might be wished, but the execution
is light, brilliant, and clear. The two Italian selections suited her talent
splendidly, but the Weber aria was rather too much for her voice The
broad phrasing, which becomes imperative in this aria, cannot be gained with
L. C. E'S. BOSTON LETTER.
good intentions. It is, however, hardly to be expected that a light soprano
can do justice to the celebrated aria of " Agatha."
BOSTON, Oct. loth.
Miss Nininger sings with good taste, has agreeable manners, and was re-
E man who hath no music in his soul," had better come to Boston, and
called and encored after each of her selections. She had the assistance of
we can pump him full of it in a week. There have been concerts enough
Mr. Nilsson, a new tenor, who cannot be called a success ; Mr. Carlos E.
Hasselbrink, a young South American violinist, who studied with Leonard to write a small sized library about it, and even with the the utmost condensa-
in Paris, and is more fit to please the masses than the musicians, and Mr. tion I fear that my letter will rival one of Conkling's speeches in length.
Unger, an excellent flute-player. An orchestra, under the directon of Mr. G. First I will briefly finish the "Course" concerts, which were very "fine."
Carlberg, accompanied the soloists, and performed Nicolai's overture to the At the open " Bay State" concert Miss Cary and Mr. Preston were the best,
" Merry Wives of Windsor," and two Hungarian dances by Brahms, which artistically speaking, although everybody received an encore. I must allude
latter were heartily applauded. Mr. Colby must be complimented on the en passant to the good work of the organist, Mr. Leavitt, who deserves high
success of this concert, which means a great deal for a miscellaneous enter- compliments for his playing, and when one learns that he has played the
Music Hall organ daily throughout the summer, changing programmes
tainment.
every couple of days, one can appreciate his versatility. His music should
not be regarded merely as a stop-gap. At the second concert of this course,
ACADEMY OP MUSIC.
Rive-King made a great success. I am glad to notice that the Boston public
OPENING OF THE ITALIAN OPERA SEASON.
HPHE third year's season of Italian opera, under the management of Col. begin to awaken to her immense bravura and technique. I hope to notice
_L J. H. Mapleson, of Her Majesty's theatre, London, was inaugurated on her performances more at length in the future concerts, as a "Lyceum
Monday last, at the Academy of Music, before a brilliant audience. Not only Course" does not give the best opportunity of hearing so excellent an artist.
every seat had been sold in advance, and every bit of standing room had been
The Roberts' Course also opened very successfully with Cary, Fanny
occupied, but hundreds, unable to obtain admittance, were obliged to return, Kellogg, Bendix, and the Philharmonic orchestra. Mr. Bendix did not sus-
and give up the idea of witnessing the opening performance. The manager tain all my predictions, for much of the delicacy, which marks his playing in
has received a fresh proof of the willingness of the public of New York to private, was lost through the size of the hall, a strange piano, and nervous-
support his enterprise, and we hope that the impresario will do all in his ness ; but he proved himself reliable, and a good general pianist. He won
power to satisfy the demands of his patrons, who have shown so much an encore. The criticisms about him in the press were absurdly wrong, giv-
liberality. Mr. Mapleson has not always acted fairly and squarely with New ing him credit for powers he did not possess, and denying those which he
York opera goers ; and if, nevertheless, the old mistakes are forgotten, and does. The programme opened with that apotheosis of br.iss, Litollf s " Ro-
his new promises are believed in, it may lead this time to an artistic and bespierre Overture." Heavy clumps of trombones, shivering " Marseillaises,"
financial benefit.
and an execution where the culprit's head is chopped off with a bass drum,
We like to see an opera-manager make money in New York ; if his per- from the staple of this noisy work. Miss Fannie Kellogg committed the
formances are worthy of support, they ought to find their reward ; and as common fault of changing her number, and all the papers in Boston
opera is, under all circumstances, even if not the most musical, one of criticised something she did not sing. The programme was respendant
the most refined entertainments, we like to see it grow and flourish in the with black and gold, and typographical errors, and the faithful censors of
interest of both manager and our citizens. Fashion may drive people into one journal commented the next day on the piece by "Doorak," a new com-
the opera, but there is no harm in this as long as fashion can make a dis- poser.
tinction between good and bad performances. What we think about the future
Oliver King, "pianist to the Princess Louise," proved to Boston that
of Italian opera, we often have said before; but what is the difference ? If
princess aforesaid doesn't understand piano music ; although, as his
Italian opera will not prove attractive any longer, we must have English the
was lame, I will defer full criticism. And now I am plunged into the
opera ; and opera, given in the vernacular, can be made just as fashionable. hand
of the concerts, and come to the Wilhelmj-Jossefy-Cary C ncerts.
People who saw the crowded house on Monday night may imagine that thick
took place at the Music Hall, October 4th, 8th and 9th. The first
Italian opera never can die out Here ; but the public is fickle and capricious, These
concert was not so fine as I had ventnred to anticipate. Wilhelmj was cold,
and may change its views over night.
and Joseffy played at times so rapidly as to blur badly.
The first performance cannot give any idea of Mr. Mapleson's company,
Wilhelmj's first piece was the Andante of Vogrich's new concerts. In
of its value or its standard. Donizetti's "Lucia di Lammermoor " is not an this he had the assistance of Mr. Sherwood, but from some cause the whole
opera which can show an ensemble ; three artists and a decent chorus will do did not seenl to hang well together. It had no life or passion. His second
justice to the work ; and as the three artists this time were Mme. Etelka piece was the worn out "Otello Fantasie," (Ernst), which lie played with ease,
Gerster, Signor Ravelli and Signor Galassi, we have only to deal with them, and in which h s statuesque bearing was in strong contrast to the wrigglings
not with the ensemble of the company.
*
of previous violinists.
Signor Ravelli is a young Frenchman, with a fresh, but light voice. He
Joseffy's performance of the "Andante Spianato and Polonaise"
is not a great artist by any means, but proves a very conscientious singer (E b), Chopin, was not so fine as last season, but it was only poor by com-
with considerable schooling, good manners and agreeable bearing. If parison. In his Liszt selections he was very brilliant of course, but I do not
they raved about liini in London, we can assure him that they will not do the believe that Senta's companions ever spun in such a tremendous .hurry as he
like here. There is nothing to rave about him, and all that can be said in his portrays in Liszt's " Spinning Song."
favor is that he is a splendid acquisition for the ensemble. His voice being
Miss Cary was in superb voice, and never sang better. It is doubly
of light timbre, is not exactly fitted for Edgar do. We demand stronger and pleasant
say so, for at the'close of last season I found her voice jaded and
graver accents from the " last of the Ravenswoods," and, although .every thin, and to her
singing listless. At these concerts she made a series of genuine
word was given with emphasis, it lacked manliness. Other parts will show artistic triumphs.
In " Oh Cessate," by Perugini, her pathos and shading
Signor Ravelli's talent in a better light; he seems to be a tenor especially were exquisite. In her
singing of two selections from Gluck, especially in
adapted for the Lionels, and parts of the same character. Signor Galassi in "Che faro," she was broad
grand in phrasing—and this seemed to be
the part of Ashton, proved the same valuable artist as heretofore. He drags, her finest school : the stately and
god-like passions of the reformer of opera.
as in former years, but his voice has remained in full power, and he is sure In " Vittoria," (by Carissimi), half
there was triumph and fire. The artist was
to impress the average listener.
never heard to as fine advantage in Boston. The audience were much im-
Mme. Gerster made her reappearance after a protracted absence from this pressed with her singing of " Douglas, Tender and True," and I also felt the
country, and was received by the audience like an old friend and favorite. realism of the phrase, " All men are to me like shadows."
She has become stout and has a matronly mien, while two years ago she
The Temple Quartet did some excellent singing, and won encores in pro-
looked bright and fresh. She sang the role of Lucia in the same manner fusion.
quartet is in better condition than ever, the accession of Mr.
as in former years; her staccati were as brilliant as ever and her runs took the Tower to This
ranks being of much importance. This singer also sang some
house again. Her organ has experienced essential changes. The medium solos in a its
and dramatic manner. He is likely to reach a high posi-
tones have gained considerably, and the' higher tones have lost in the same tion in the powerful
field, for which many of our refined tenors, whose voices
degree. The strength of the upper tones is gone, and she has to be very do very well oratorio
in lyrical songa, are unfit. I have not heard a concert for a
careful how to use them. What we regret most is the wonderful timbre of long time which
was so thorough, so satisfying, as the second of this series.
the voice, which appears faded and pale. We shall not forget the impression Everybody seemed
to be imbued with a little of the feu sacre. Joseffy played
her beautiful, sympathetic, velvety voice made on us, when she made- her the " Sonata Appasionata"
with great expression, especially the Andante.
first appearance in this country. All that is gone. We have now a metallic I must always dissent from the
time in which he takes the finale ; it may be
organ, which seems to be forced occasionally, and consequently gets out of
and terribly difficult, but Beethoven marked it allegro ma non
tune. This, at least, was the impression on the opening night of the season. wonderful
troppo, of which the performer appears to forget the three last words. He
If we were mistaken, we shall be very glad to modify our judgment.
also played his left hand arrangement of one of Bach's gavottes, which is the
The next performances of the Mapleson company will offer well known most difficult bit of virtuosity I have ever listened to, and makes one smile
operas, in which the different members of the company will make their debut ,- at the simple days when Wehli's " Home, Sweet Home," was the acme
after that we hope the repertoire will be extended and made more interesting. of mono-manual (or is it monomaniac ?) playing. In Liszt's " Campanella "
I doubt if any one will ever equal Joseffy. The difficult skips were made
OBITUARY.
with surety and with exact dynamic force, while the octave runs at the close
showed that the performer's reserve force had not been called upon.
JACQUES OFFENBACH.
ACQUES OFFENBACH died in Paris on Oct. 5, at 4 A. M. He had been " Traumerei " was also played. If Schumann had known how frequently
ill eight days with dyspepsia, and gout supervened, thus terminating fatally. this sugar pill would be administered in concerts, he would never have com-
During the twelve hours preceding his decease Mr. Offenbach suffered pounded it.
acutely. He was in his sixty-first year. Offenbach was born in Cologne, on
Wilhelmj played the " Bach Chaconne," and I have never heard it played
June 21, 1819. His parents were Gei'man, and were professed Israe- so purely and clearly in public before, and but once in private.
lites. In his early years Offenbach showed a decided taste for music,
The passages with skipping bow, the martellato, the double-stopped
and at sixteen years old was entered at the Paris Conservatory, which runs, were wonderful; and with it all the phrasing was so clear, the shading
then was under the direction of Cherubini.
His first great success, so finely executed, that anybody could follow the work, and understand it,
the '' Orphee aux Enfers," ran for 300 successive nights. His spectacular opera whether musical or not. Two years ago I was one evening in company with
bouffe, " Whittington and his Cat," produced at the Alhambra theatre in Remenyi, when Bach's " Chaconne " being alluded to, a supercilious remark
London, brought him £3,000. Offenbach produced in 1864 "La Belle about Remenyi's ability in such work brought the impetuous violinist to his
Helena ;" 1866, " Barbe Bleue ;" and in 1867, ' • La Grande Duchesse." The feet, and caused him (at 1A. M.) to play this "Chaconne" in a marvellous,
most important part of Offenbach's librettos were written by MM. Henri electrical manner. He repeated the piece in public a month later, but not
Meilhac and Ludovic Halevy. His last work, "La Fille du Tambour the playing. As an encore, Wilhelmj again gave the Vogrich "Andante," this
Major," has recently been produced in this city.
time with Mr. Dulcken at the piano, and with a fervor that made the work
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