Music Trade Review

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