Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSICAL CRITIC AND
208
STAFF CORRESPONDENCE
[From an Occasional Correspondent.]
BALTIMORE.
BALTIMORE, MD., February 13.
MONG the notable musical events of the past
month, we record the following as worthy
A
of notice.
The Wednesday Club gave their periodical
"Soiree Musicale" on "Wednesday, January 25.
The feature of the evening was Oscar Wilde—who
was there with his long hair and thin legs. He
posed, and the crowd gazed, reminding us of the
monkey cage in the Zoo, with the amused crowd
surrounding it.
THE PEABODY CONSERVATORY OF MUSIC
gave their first symphony concert of the season,
under direction of Prof. Asger Hamerik, on Sat-
urday evening, January 28. The programme con-
sisted of Beethoven's work, 124, overture in C
major, composed in Vienna, 1822, which was per-
formed in good style by the Peabody Orchestra;
Beethoven E flat piano-concerto, played by Madame
Aurbach, with orchestra accompaniment, and four
songs by Grieg, sung by Mr. Jules Jordan. "An
Opera Without Words," composed by Asger Ham-
erik, for orchestra, concluded the programme. A
person of brilliant and fertile imagination might
possibly understand this nondescript, after having
it minutely explained. Mr. Hamerik's position
is happy and exceptional, for nowhere in this
country or Europe has a composer the opportunity
and privilege of presenting his work after five full
consecutive orchestral rehearsals, and that "with-
out let or hindrance" from any one.
However, it gave the Baltimore public a chance
to contrast the old with the new—Beethoven with
Hamerik.
THE ORATORIO SOCIETY
is zealously at work rehearsing Handel's "Mes-
siah." The concert is to take place February 17.
Soloists, Mrs. E. A. Osgood, Miss Anna Brasdil,
Mr. Myron W. Whitney, and Mr. Charles Fritsch.
Too much cannot be said in praise of this organ-
ization; it was conceived by Mr. Otto Sutro, and
brought into existence as if by magic, and as a
chorus is to-day unexcelled. As a proof of its
reputation, the society has been invited to sing at
the New York May Festival next spring.
The Germania Miinnerchor gave their second
concert last week—Prof. H. Hammer, musical di-
rector. The feature of the programme was the
rendition of "Arminius," oratorio, by Max Bruch;
previous to which were rendered several instru-
mental and vocal selections.
The Peabody Conservatory of Music gave their
second symphony concert Saturday evening, Feb-
ruary 11, performing Rubinstein's "Ocean Sym-
v
phony," Miss Henne vocalist.
F.
BALTIMORE.
BALTIMORE, February 2.
R. HAMERIK has written a number of
works of very decided merit, all of which
the patrons of the Peabody Concerts have had fre-
quent opportunity of hearing.
They comprise an undue proportion of the prom-
inent works that are performed at each season'
series of concerts at the Conservatory of Music.
There are so many more shining lights of the
modern and progressive school of music, that our
director should occasionally permit a ray of light
to penetrate those portions of the clouds inhab-
ited by Brahms, Raff, Tschaikowsky, and others
with whom the audiences at the Peabody Institute
have no acquaintance whatever—that is, so far as
any influence Mr. Hamerik has endeavored to
exercise in that direction.
In the arrangement of a programme for a series
of concerts, such as are given under the auspices
of the Peabody Institute, it is of the utmost im-
portance that the great works of the modern com-
posers should not be overlooked.
M
EDUCATING THE PUBLIC.
TRADE REVIEW.
"OPERA WITHOUT WORDS."
Following the idea of "songs without words,"
he composer presents acts and scenes of an opera,
the plot of which is left to the imagination of the
istener, with the aid of the titles given.
The three scenes of the first plot follow each
other without intervening pauses.
In the second part, the second and third scenes
are closely connected. Until this musical novelty
was produced, the conjectures were many and va-
rious as to the exact character of the new departure.
Curiosity has finally been gratified, even if pub-
ic expectation was not.
The "opera without words," as conceived by
Mr. Hamerik, is simply another name for "songs
without words," in the treatment of which there
is lack of originality.
It will probably be the most popular of his
works, but does not compare favorably with any
of his former productions.
It would require a more vivid imagination than
that usually allotted to man to intelligently follow,
ven "with the aid of the titles," the plot of this
opera. That the work is suggestive, no one will
dispute. But—of what?
POINTS OF WEAKNESS.
The first scene shows the composer's predilec-
tion for Norse music, which is quite natural; but
it should not remind the listener too much of what
he has heard before.
For a scene "in the woods" it is in too much of
a minor strain.
The chirping of the birds is very cleverly done,
but does not relieve the want of gayety which
pervades the entire scene.
The change of tempo and key in which "The
Hunter's Chorus" is introduced, is very happily
conceived.
This is decidedly the most suggestive of all the
scenes.
What the composer intended by "a chorus of
chattering women" will forever remain in doubt.
Having such close connection with the two pre-
vious scenes, a chorus of wood nymphs might
have seemed more apropos.
The treatment of this scene would clearly indi-
cate that the composer's experience with chatter-
ing women, even "in the woods" or out of them,
must have been of a very peculiar kind.
It can safely be said that nothing in the way of
music could possibly be less suggestive of "a cho-
rus of chattering women" than this.
It opens with none of the spirit of a chattering
woman, nor does it develop itself into anything
approaching such a character.
She must be an ideal object, if the bassoon is
selected as the most appropriate instrument to
introduce her to the audience, and the trumpet to
remind us of what she is capable of doing, if an-
gered.
In the second and third parts, Mr. Hamerik is
heard at his best—though he is frequently
strongly suggestive of Mendelssohn and Wagner.
The instrumentation throughout is very ef-
fective, with the exception of the ''procession to
the village church," which is labored, and in all
effects where Mr. Hamerik attempts a free use of
the brass the instrumentation sounds commonplace.
This has been heretofore observed, particularly
so in the last movement of the Symphonic Poem,
which was performed last season.
This latest work, or portions thereof, will prob-
ably find a welcome place on the programmes of
some orchestral concerts, but it is not entitled to
the prominent number at a Symphony concert.
A SATISFACTORY PERFORMANCE.
The performance of the opera was very satisfac-
tory.
The orchestra was slightly enlarged upon this
occasion, as it usually is when any of the director's
compositions are to be performed.
The lack of uniformity in bowing is still a source
of complaint.
That this can be remedied was amply demon-
strated when Mr. Rosewald occupied the position
of concert master.
The orchestra was better then than it has been
since.
The Peabody Symphony Concerts are the only
opportunities afforded Baltimoreans to hear classic
music.
This fact is fully appreciated, but does not pre-
vent just criticism, or an expression of a hope for
an improvement in every branch and management
of the Conservatory of Music.
The public should be educated to a proper ap-
preciation of these masterly compositions, for it
is a part of the mission with which George Pea-
body entrusted the directors; and this can be done
without lessening our veneration for the old mas-
ters or slighting their works.
Thus far, allusion has only been made to orches-
tral works, but the above remarks apply equally as
well to song writers.
The songs of Franz, Jensen, Moskowsky, Raff,
[From an Occasi nal Correspondent.]
and others, are so infinitely superior to those of
BALTIMORE.
Grieg—which have been heard at these concerts
upon more than one occasion—that it seems in-
BALTIMORE, February 1.
comprehensible that none of them should ever have ~\7~0TJ have your regular correspondent, as I no-
been heard at any of the symphony concerts.
X
tice, and as I am a regular reader of THE
February 20th, 1882.
MUSICAL CRITIC AND TRADE REVIEW, I take the
lib-
erty of sending you a notice of an important mu-
sical event which may have great influence on the
world of music, and which your correspondent
may have overlooked.
It is the first production in this or any other
ountry of Hamerick's "great opera without
words."
An opera without words is truly original, and,
as the composer most aptly states in a foot-note,
"the plot is left to the imagination of the listener."
However, the composer fills up the gaps which
may exist in empty imaginations by giving
sketches of the three parts in each of the three
imaginary acts.
These nine parts are as follows:
ACT 1.
a) In the woods, near a deaf and dumb asylum.
b) ) Superintendent's song,
c) ) Chorus of scrubbing women.
ACT II.
(a) Doctor's call.
(b) Interrupted operation,
(c). Glove-duet.
ACT m.
(a) Boston dip.
(b) Ginger ale.
(c) Procession to the deaf and dumb asylnm.
A fitter place than a deaf and dumb asylum can-
not be selected for an "opera without words."
Let the imagination stretch in any direction, it
cannot be more happily ensconced than in a deaf
and dumb asylum when it is listening to an opera
without words.
Young aesthete Hamerick, who composed it, is
soon to join a happy band of Oscarites, who are all
intent upon paying a permanent visit to a lunatic
asylum.
The sooner they get there the better, as the leader
wants us to dress like fools, while one of the follow-
ers tries to make fools of us by intending to impose
upon us an "opera without words"—a complete
paradox.
What is an opera?
Yours,
VERITAS.
BALTIMORE.
BALTIMORE, January 31.
A
T last I am again able to send THE MUSICAL
CRITIC AND TRADE REVIEW some musical
news. We have had the first Peabody Concert,
and a Kellogg Concert, besides local concerts.
The first concert of the Peabody course took
place Saturday night, January 28, the programme
embracing two Beethoven works and a Hamerick
work.
The first number was the overture,' 'Consecration
of the House;" the second being Beethoven's
Piano Concerto, No. 5 (E flat, major), performed by
Mme. Falkauerbach.
The third and last number was Hamerick's
"Opera Without Words." As you know, Prof.
Hamerick is the director of the Peabody Con-
servatory of Music, and it was his ambition to
present this latest work from his prolific pen.
It had a success, but only a "success d'estime,"
which, from the nature of the surroundings, must
have chagrined the director considerably, espec-
ially as he is always accustomed to the applause
of an audience which exercises great fidelity,
mixed with little or no judgment.
The work itself consists of a series of orchestral
parts, replete with modern instrumentation, and
devoid of extensive or even moderate originality.
The feature of the concert, which was exceed-
ingly commonplace from a musical standpoint,
was the performance of the E major, Beethoven
Concerto, by Mine. Auerbach.
This lady is an artist who is studying conscien-
tiously, and the results of her application are
found in her readiness to contribute to any mu-
sical event which might occur here, and at the
same time give her auditors pleasure in doing so.
Many musical people here are dumbfounded
because Prof. Hamerick is never satisfied unless
he places his compositions on the same programme
with those of Beethoven.
He does so on every occasion, and would evi-
dently think that he is wronging himself by plac-
ing his works on a programme which does not in-
clude a composition of Beethoven.
He should remember that this is the least in-
genious manner in which he can give his works
artistic prominence.
The majority of compositions, when placed'in
juxtaposion to Beethoven's works, sink into in-
significance, and other compositions, which do not
belong either to the majority or minority, drift
into oblivion.
This is a great mistake on the part of the di-
rector of the Peabody Conservatory of Music.