Classic Mode

Music Trade Review

Issue: 1881 Vol. 5 N. 10

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
134
THE
MUSICAL CRITIC AND TRADE REVIEW.
December 20th, 1881.
4, for the piano, played by Mme. Madeline Schiller.
Two Norwegian melodies for string orchestra, by
Edward Grieg, were next in order, and the final
number was Beethoven's Eighth Symphony.
ITALIAN OPERA.
The Schubert Quintette offers abundant re-
"OOITO'S " Mefistofele " was given at the sources for rich and pi'ofuse instrumental effects,
J 3 Academy on Friday, December 9, to a small which Dr. Damrosch has succeeded in displaying.
and unappreciative audience. It is to be regretted In the special capacity of an interpreter of musi-
that a work like this does not receive greater atten- cal ideas, and as a scholar whose studies in the dis-
tion from the New York musical public, and this position and effectiveness of orchestral effects have
want of encouragement entitles the management to been eminently successful, Dr. Damrosch has
keep the old repertoire constantly before us. One or few equals, if any superiors, in this country. The
two crowded houses, that are attracted more by orchestral arrangement of the Quintette ia a meri-
inquisitiveness than any other motive, afford no torious musical work which will have more than a
encouragement to a manager. There must be a temporary value. It is comprehensive, and con-
probability of a constant desire to hear a, work, tains broad and positive symphonic moments,
otherwise the management is compelled to abandon while at the same time it remains constantly with-
its production and keep the "Traviatas" and in the scope of the composer's intentions. No
" Lucias " on the stage.
illegitimate nor sensational effect* are sought for,
Boito's work has been thoroughly analyzed, and but, on the contrary, a conscientious desire is
its remarkable originality has received deserved apparent to remain within the proper sphere of
encomiums. His literary and musical abilities the original idea.
are conceded to be of a very high order, and in
The doctor, in a foot note, states that: "Per-
combining them in this opera he has reached far haps if Schubert had an orchestra at his disposal
above many composers whose works are still found he would not have restricted himself so often to a
in the repertoires of to-day.
few instruments." We are compelled to take is-
With the exception of a few cities, nearly every sue with Dr. Damrosch on this point. Schubert
musical community which has had an opportunity died when thirty-one years of age, and within the
of listening to Boito's opera, has demanded a few years of his activity he composed so much
repetition of the work. Its popularity is steadily that he is now considered one of the most prolific
GENTLE ANNE.
increasing, and here in New York there should be composers that ever lived. Mine or ten symphonies
H P HE following advertisement appeared in a daily no reason why the opera should not be in the have already been discovered written by him, and
regular repertoire. There is a generation of fossils the musical world would not be surprised if a few
_L paper recently :
still in existence that gets into ecstacies when the more would come to light. He could not have
Will it be permitted by a German young lady who, sextette from "Lucia" or the "Miserere" is per- written more for an orchestra if he had had an or-
through a long time of sickness, has become poor, to formed, and having no ability to grasp modern and chestra living under his own roof. He wrote operas
ask if there perhaps would be some kind gentleman more developed musical ideas, this generation we besides the symphonies, and consequently did as
who would lend her a little sum of money to finish her refer
to generally abuses the creations of the con- much, or nearly as much, in the direction of
studies in singing? Please address ANNE, box 151
temporaneous genius.
orchestral composition as any one.
Herald oilice.
Nearly
every
one
of
the
young
composers
has
It must also be remembered that Schubert was
As THE MUSICAL CEITIC AND TBADE RKVIEW is
always willing to aid any worthy member of the had to suffer from this want of musical culture, and a genius of the highest order, and did not require
profession in securing recognition, a note was it appears as if the admirers of the old repertoires an orchestra at his disposal to write a symphony,
written to the advertiser asking for information are really triumphant, especially here. The press any more than Beethoven or Berlioz required one.
about her and offering to state her case in our col- is constantly urging Mapleson to present new With Schubert, the mere technical work of writing
yet it appears that his experience leads him a symphony, or the practical delivery of the same
umns if she were the person she represented her- operas,
to act with discretion, when he knows that the by an orchestra, was of less than secondary conse-
self to be.
will support the old Italian operas in quence. The conception and execution of the
As no reply has been received to our note, we public
preference to modern works.
work were not interfered with by any expectation
are very much afraid that gentle Anne is a hum-
The performance was in the main very acceptable. or desire to hear it performed.
bug.
Signor Campanini gave an excellent rendition of
The explanation by Dr. Damrosch contains the
Faust, singing the part with more than his usual spirit of apology that is not necessary, as the work
SEEKING A DIVORCE.
vigor. His upper notes were brilliant and clear, he has done in this arrangement is worthy of
R. JAMES M. OSGOOD has applied for a more so than on former occasions this season. cordial praise. If Liszt and Joachim made or-
divorce from his wife, Mrs. E. Aline Osgood, His histrionic abilities find a rich opportunity for chestral arrangements of Schubert compositions,
the well known singer, on the ground of desertion. display in this work, and he is quick to grasp it.
Dr. Damrosch is. fully entitled to attempt the
The suit has been brought in the Middlesex Su-
Mile. Ferni as Marglierita was in a more con- same thing, especially when his abilities de-
preme Court, Cambridge, Mass. Mrs. Osgood left genial atmosphere than when she appeared in monstrate themselves to such a degree as in this
her husband in Boston about five years ago, and Gounod's " Faust." Her conception of the role is in arrangement.
went to London, where she began a career as a full accordance with Boito's intention, as described
The performance lacked precision and exactness
concert singer. She soon became almost as great by him. The only exception to.be taken to her in delivery. The Quintette is characterized by
a favorite at the London concerts as Madame execution is the tremolo, which she appears to exceedingly delicate shading, and moments of the
Patey or Lemens-Sterrington. Why she separated cultivate with especial fondness. This practice very highest finish will be remembered by those
from her husband was never clearly known, al- detracts greatly from her value as a singer, and we who have heard it played well. Dr. Damrosch
though it was understood that he had always op- fail to understand how she can persist in standing tried his utmost to produce the desired effect, and
posed her entrance upon a professional career. in her own light by continuing it.
continued his efforts in the Beethoven Symphony,
Letters have been shown in which Mrs. Osgood
Marta, by Mile. Lauri, was a disappointment, but only partially succeeded. In the latter work
staled that she would never return to her husband. which was to be expected. In a heroic opera, full of the "Allegretto Scherzando" and the "Allegro
dramatic music and where large and powerful Vivace " were rendered the best. More strings are
voices are required, Mile. Lauri is out of place. required, especially first and second violins. Ed-
A contralto is needed that fills these requirements. ward Grieg's "Two Norwegian Melodies" for string
ART JABBERING.
quartette, one of the most inspiring parts of orchestra received a charming and thoroughlyly ar-
HE Art Jabberer of November 26 contained a The
opera, was ruined by a failure to hear the con- tiatic interpretation under the doctor's direction.
notice of the death of Rudolph Bial, and the
Mme. Madeline Schiller played the Saint Saens
closed it by stating that "His funeral takes place tralto part.
Signor Novara's Mifistofele is made the central Piano Concerto, No. 4. On the programme it was
Friday at twelve o'clock," etc. November 26 came
on a Saturday, consequently about a week would figure of the performance, not so much by the stated that this work was " new, the first tirns."
intention of the composer (who rather seeks to
"The first time " is correct, but the work is not
have elapsed between the death and the funeral.
The fact is the funeral took place on Friday, maintain a divided interest in the quartette than "new " i n the sense intended. It was composed
Nov. 25th. That talented young Journalist (with a complete interest in one role) as by the artistic some years ago and published. We had hoped
of this bass singer, who is also an that Mme. Schiller would play the concerto with-
a capital J.), W-eak M-inded Tom, clipped the performance
of great distinction, as he demonstrates in out notes. She may have been justified in play-
article from a daily paper and neglected to make actor
ing the stupendous Tchaikowsky Concerto, at the
the alteration. He edits the Art Jabberer—with a his playing of this role.
Around his Mefistofele all the dramatic episodes first Philharmonic Concert, with the notes before
pair of scissors—but should, even in an easy occu-
pation like that, pay some attention to the subject. are gathered, and the scenes in which he appears her, but the Saint Saens No. 4 Concerto could
The number of Nov. 26th must have used up at are permeated with life, energy, and artistic have been memorized without much trouble by
idealism. Signor Novara is recognized as one of an artist really desirous of doing thorough work.
least one pair of scissors.
As a result of the disturbing presence of the
the most competent Mefistofeles on the stage.
The ensemble was effective, both chorus and notes and the gentleman who is obliged to turn
The large audience at the Assembly Rooms, re- orchestra endeavoring to do the very best, the the leaves, the best effects were marred. The deli-
cently, were well satisfied with the singing of fifty latter body apparently taking a great interest in cacy of many passages of the concerto, according
members of the Bristol Orpheus Glee Society; and the intricate and remarkable score that Boito has to Saint Saens' peculiar style, was not sufficiently
the pecuniary aid they were indirectly giving to written. The opera should be performed as often pronounced to make them the features they are
the funds of the Royal United Hospital. The aa is consistent with managerial solvency.
intended to be.
whole of the glees and part-songs arranged in the
No musical work can be performed with artistio
admirably chosen programme were rendered unac-
SECOND SYMPHONY SOCIETY CONCERT.
finish unless it is memorized; the presence of
companied. Mr. George Riseley officiated as con-
FTER the auspicious opening of this season's notes is necessarily a disturbing influence. This
ductor.—London Exchange.
. concerts, it was to be expected that the sec- is the theory of Hans von Bulow, and daily experi-
The first representation of the " Pre aux Clercs" ond public rehearsal and the second concert of the ence seems to prove its correctness.
was given in 1832; the 1000thperformance in 1871. Symphony Society would be attended by large
Thus, during these thirty-five years, the annual and very enthusiastic audiences. The public re- SECOND STANDARD QUARTETTE CLUB CONCERT.
average performances has been about thirty-five. hearsal took place at Steinway Hall Dec. 1, and
E had hoped that the second concert of this
1871 to 1881 the "Pre aux Clercs" was played the concert Dec. 3. Schubert's Quintette, op. 163,
Quartette Club, which took place Decem-
three hundred times, making an annual average of orchestrated by Dr. Damrosch, opened the per- ber 13, would be an improvement on the first oon-
thirty representations. —Paris.
formance^ followed by Saint Saens' concerto, No. cert of the season. In this we were, however,
A PLUCKY YOUNG WOMAN.
ISS MARION FOSTER, a young woman
who has been crippled twenty years and is
now under the gratuitous treatment of Dr. Lewis
A. Say re, has a fine voice which has been praised
by artists of reputation. She has neither the
financial nor the physical resources to go on the
concert stage, but she has a remarkable talent for
painting in oil and water colors. She works on
satin, canvas, china and wood. Miss Foster makes
a specialty of crayon portraits and refers by per-
mission to Governor Foster, Ex-Governor Bishop,
of Ohio, and Miss Fanny Davenport. She has
painted for the actress her handsomest dresses in
" Camille."
Miss Foster works industriously every day at
her home, No. 51 East Twenty-ninth street, seated
in a little carriage which she wheels around the
room.
She has received a number of orders
recently from well known society people, and if
they continue to favor her she will be able to keep
the wolf from the door and live in the comfortable
manner that her unfortunate condition demands.
Through all her years of suffering she has plucki-
ly cultivated her natural bent for painting.
Miss Foster has a prepossessing face and ia a
delightful conversationalist.
PERFORMANCES
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Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
December 20th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
135
much disappointed. The Beethoven Quartette, Rietzel, Jonas, and Franko with excellent musical
MUSIC IN BOSTON.
Opus 18, No. 6, was played with complete indiffer- taste ; yet its delicate points were lost within the
EIGHTH
SYMPHONY CONCERT.
ence to the poetic requirements of this beautiful spacious hall, and in the robust passages the large
work. The slow movement of a quartette of Bee- tone of the grand piano completely overwhelmed
USIC HALL was again crowded recently to
thoven is usually a test of the ability of the per- the tone of the other two instruments. This was,
hear an interesting programme, consisting
formers to interpret the ideas of this genius. A however, the only exception which could be taken of Mendelssohn's overture, "Athalia;" Brahm's
crude performance of a composition of Beethoven to its production. The artists themselves did their Symphony, C minor, No. 1, and Liszt's symphonic
is damaging to those who participate, and we are duty fully.
poem, "Les Preludes." Mr. Carl Bayrhoffer,
therefore obliged to say most unequivocally that Miss Rachel Franko suffers from an affliction violoncellist, performed Saint-Saens' concerto, op.
the Standard Quartette lost much of its caste in which is becoming more general every day, and 33, and Bargiel's " Adagio." Mr. GeorgHenschel,
the performance of the whole quartette, and espe- that is, false vocalization. Simple songs should, at the conductor of these concerts, has assumed the
cially of the "Adagio." Amateurs cannot be criti- present, occupy her time, and a system of vocal liberty of changing the positions of the various
cised for dull and uneven playing, and for the exercises which will eradicate the evil. After that instruments on the stage. To a certain extent, he
sake of brevity we will look upon this perform- s corrected, the study of Schumann and Schu- may find a satisfaction to himself in revolutionizing
ance as an effort of amateurs.
the plan generally adapted by directors, whose
bert may be cultivated.
The plaudits of an audience may satisfy the Mr. Sam Franko played the Concerto Roman- reputations enable them to dictate such matters to
momentary longings of a number of performers, tique, by Godard, a somewhat unique composition the musical world. We fail to understand how th«
but they must surely be awake to the reality, not- which is thoroughly in keeping with its title. The proper effect can be produced by dividing the
withstanding the unquestionable applause of those three movements possess many beautiful nuances, compact body of the 'cello and bass performers and
who are directly interested in the performance. specially the cansonetta, and they were well forcing the second violins back from the fore-
When a quartette club has no attack, no ensemble rendered. There was more tone in Mr. Franko's ground, which is entirely occupied by the first.
in technique, no expression, nor an appreciable performance than when he played a few evenings Mr. Henschel makes other radical changes, which
we fear will not stand the test of time. Other
understanding of Beethoven's ideas, then, as a previous in the same hall.
matter of course, a Beethoven Quartette becomes In the Legende of Wieniawski, Mr. Franko did directors have attempted the same kind of erratic
an etude, and we do not care to listen to an etude ; not succeed so well. We do not mean technically, distribution, but have failed in every instance.
we want to hear music. Notes or musical figures as there was no fault in that respect. There is, Among others we may mention Asger Hamerick,
are not music ; they only represent music, and if however, a certain depth of sentiment pervading director of the Peabody orchestra, Baltimore,
they are played without any effort to interpret the this musical poem which the performer failed to who undoubtedly differs very much with both
musical precedents and Mr. Henschel. He groups
intention of the composer, they remain simply recognize.
firsts, seconds and violas to his left in one body,
notes.
The Mazurka of Damrosch, and " Danses Co- the
'cello and basses in front of his desk, and to hig
The gentlemen who compose the Standard Quar- saques," by Sternberg, seem to be better adapted to right,
beginning with the flutes on the outside, he
tette Club are excellent orchestral players, but if Mr. Franko's style. They were both well played, has a line
reed instruments extending back to
they wish to give an evening of quartette perform- and the applause which they elicited was merited. where the ot
horns begin. The most competent mu-
ance they must endeavor, in the first place, to play
Mr. Franko, who is an artist, will doubtless sical judges
decided against him, and his
ensemble, and in the second place, to give a poetical succeed, as all his playing gives evidence of care- concerts have have
been artistic failures. He still ad-
expression to a quartette, not simply play the notes ful study.
' to the method, however, and we suppose
technically correct. Mr. Constantin Sternberg Mr. H. Rietzel, the pianist, played Scherzo (B heres
played the piano part in Goldmark's piano and flat, minor), Chopin; serenade, by Moszkowski, and Mr. Henschel will adhere to his idea.
violin sonata, op. 25, with excellent judgment and Tarantella, by Rubinstein,—in all of which he was It may be due to this distribution of the instru-
with artistic appreciation.
thoroughly successful. His playing was character- ments that the proper effect of the symphonies was
ized by much vigor and a thorough appreciation lost. No doubt, Mr. Henschel is a musician of
of the subject. The only fault we find is his in- profound acquirements, yet he is by no means
BENEFIT CONCERT.
at times to be too vigorous. The con- adapted to the direction of an orchestra. His is
E were invited to attend a concert given on clination
was an enjoyable one, and we would have been not the first instance of such an apparent anom-
Dec. 2, at Steinway Hall, "for the benefit cert
aly. Mr. Henschel may understand the tempi. He
of our late President James A. Garfield's Mother." glad to see a larger attendance.
understands how the work should be performed,
The choice vernacular nearly tempted us to re-
but he lacks the quality of conveying his ideas to
main a great distance from the hall. We were
the orchestra. It seems as if his energies are all
THE FLORENCE RICE-ENOX CONCERT.
anxious, however, to hear one or two numbers on
in directing the technical score and keep-
the programme, and this induced us to attend the T)ROMINENT members of Mapleson's company occupied
bin forces together, and no resources are left
benefit.
J_ sang at the Florence Rice-Knox concert at ing
the poetry or sentiment to the
Mme. Pauline Oanissa, prima donna soprano, Steinway Hall December 8. There was a good at- to him to convey
Each player expresses his individual
seemed to infuse the whole scene. Theodore tendance, and the audience was appreciative to a performers.
in the absence of a cue for the expres-
Thomas led an orchestra of venerables, who degree. Mrs. Knox sang Braga's romanza, " Mar- sentiment
of a general sentiment. The correct per-
played the " Euryanthe Overture," by Weber, guerite's Three Bouquets;" a duet with Del sion
of a Brahms symphony or Liszt's
with technical precision and good-natured indif- Puente, from " La Favorita;" "Mai Reggendo," formance
"Les Preludes" depends as much upon aesthetic
ference. Then a Mr. Chas. Ahl, tenor (his first from " Trovatore," with Campanini; a duet with effect
ai upon mere tone effect.
appearance), sang "II mio tesoro," from "Don Minnie Hauk, from " Mefistofele," " LaSerenata,"
Mr. Carl Bayrhoffer, the violoncellist, is not a
Juan," with good voice, poor method, and a total and appeared in the sextette from "Lucia," with
disregard of sentiment. Subsequently, a young Minnie Hauk, Campanini, Del Puente, Mr. Fritsch solo performer, as he must have recourse to his
notes, and thus loses every chance which distin-
lady played some piano solos, and seemed to be and Sig. Corsini.
anxious to get through as quickly as possible.
Minnie Hauk sang Eckert's "Echo Song," but guishes the solo from the quartette or orchestra
Thereupon appeared Mme. Pauline Canissa, was miserably accompanied. The Italian gentle- player. With the notes in front of him no solo
prima donna soprano, and began Beethoven's man at tho piano tried to run ahead of her, to performer can possibly do more than play notes.
sublime song, "Ah Perfido," having the advantage keep behind her, and to play in any other time There exists no single instance in which more
of an orchestra to accompany her. Having seen than the singer, and he succeeded admirably. than a commonplace solo performance has taken
an announcement of an "attack of severe hoarse- Campanini was hoarse, and in his duet with Mrs. place when the notes were used. Using notes is
ness" distributed about the hall, we were prepared Knox had to stop short, throw up his hands in an evidence that the composition has not been
to meet impending disaster. It came. Notwith- despair, and retire ingloriously from the stage. sufficiently practiced for performance in public.
standing the severe hoarseness, it must be admitted After recovering the control of his voice he re- Mr. Bayrhoffer is also afflicted with the unmusical
tremolo that prevents tone and purity of expres-
that the lady was once upon a time a singer of turned with Mrs. Knox and finished the duet.
sion. He ia splendid material for an orchestra.
ability, and the debut of her pupil, Miss Lottie L.
Natale, shows that Mme. Canissa is a teacher of
PATTI CONCERTS.
ability. Miss Natale has a very sympathetic voice,
THE SAALFIELD CONCERT.
Four Patti concerts took place here, including a
of unusual compass, which may be developed by
study. The next time she sings she will probably TV/TINNIE HAUK sang at the Saalfield Concert at matinee on Saturday, December 10, the last con-
take a glance at the audience, instead of constantly -^'-^ Steinway Hall, December 10, to a very mixed cert being on the evening of December 13. Music
looking in the direction of the East River Bridge. audience that went into raptures, especially over Hall had a quasi stage in front of the organ for
Scotch songs and the mossgrown ballad, the " one acts" from "Faust," "II Trovatore,"
We must praise the artistic rendition of Wien- several
"She's Fooling Thee." Her most interesting "La Traviata," and "Aida." The attendance
waski's "Polonaise," No. 2, for the violin, played selection
was Katarinas song from "The Taming was very large, and the receipts consequently en-
by Mr. Sam Franko. After the orchestra finished
the Shrew," which was deservedly applauded. able Mr. Abbey to carry out his contract without
Leo Delibes' Suite "Ballet Sylvia," the super- of
Mme. Hauk was accompanied in a villainous man- much trouble. Thirteen hundred tickets were
annuated Darcie stepped upon the stage, having ner.
was so annoyed that on a recall she sold at the office on Saturday for the matinee.
been selected as orator for the occasion, and told played She
own accompaniment. Space is too val- This sale in addition to the sale of season tickets
the expectant but stupefied auditors that: "Mme uable to her
mention her associates on the programme. filled the spacious hall to overflowing.
Canissa could not sing In—In—Involami from Er—
The Patti performances having been fully
Er—Hernani, as her physician had positively,
analyzed in THE MUSICAL CRITIC AND TKADE
most positively, forbidden her to sing." (Applause.)
REVIEW, it is only necessary to add that they pre-
That removed several series of accidents from the
THE REV. MR. ROBINSON'S BENEFIT.
sent no changes other than in slight details.
programme, and after a very stale song from
HAT was announced as a "grand festival en- Adelina Patti maintains her position as a re-
' 'Joshua," by Ahl, some piano pounding and various
tertainment under the auspices of the Be-
matters, ending in the march from " The Prophet' nevolent Association of the Lady Friends of the markable artist, gifted with a remarkable voice,
and supported by a very incompetent comjjany.
by the orchestra, the concert was at last over.
New York Juvenile Guardian Society," came off She must appear in opera with proper surround-
before a slim audience in the Academy of Music ings before she can satisfy the demands of the
SAM~FRANKO'S CONCERT.
December 8. The audience might have been American musical dil/etanti. A financial success is
R. SAM FRANKO, the violinist, gave a con- larger had not a prominent daily paper exposed gratifying, no doubt, but an artistic success is
cert at Steinway Hall on December 7, with the thing as really a benefit for the Rev. Mr. D. F. necessary to make a lasting impression.
the assistance of Miss Rachel Franko, soprano Robinson, whose methods have frequently been
HENSCHEL BKCITALS.
Mr. Herman Rietzel, pianist; Mr. Constantin denounced by the press. Among those who Lad
Sternberg, pianist; and Mr. Ernst Jonas, violon- volunteered to sing was Miss Marie Glover, a prom- The first of the four vocal recitals by Mr. and
ising young singer, who, on learning of the charac- Mrs. Georg Henschel was given at the Meionaon
cellist. Mr. Paul Torek was the accompanist.
The concert opened with the Rubinstein B flat ter of the proposed entertainment, promptly with- on Tuesday afternoon, December 6. Mr. Henschel
trio for piano, cello, and violin, played by Messrs. drew h«r name from the programme.
sang Handel arias, Schumann's "Was hoer ich
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