Music Trade Review

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February 5th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
OUR STAFF CORRESPONDENTS.
9
chronicled in my last letter. It is to be followed by another next Monday.
The programme was one of those admirably selected ones which are only
found when there is a thoroughly musical hand at the helm. It was chiefly
made up of compositions in the lied form, and many of the numbers were
BOSTON.
from the pen of Mr. Henschel himself. Here is the list:
Aria del opera ' ' Orfeo," Haydn; Serenata, " Vieni oh cara " (Agrippina),
MORE DAMNING OF " FAUST."—THE CECILIA CLUB.—THE BOYLSTON CLUB.—
SATTER'S RECITALS.—HENSCHEL'S RECITALS.—THE HANDEL AND HAYDN Aria, " Mi du speranza," (Almira), Handel, Mr. Henschel. "Nachtund Tra-
eume." Schubert, " D e r Nussbaum," Schumann, "Lullaby," Brahms, Miss
SOCIETY.—THE BAY STATE SERIES.
Bailey. Piano Solo, Nocturne in G, Gavotte in C, Henschel, Mr. Henschel.
BOSTON, Jan. 29th, 1881.
" Oh, that we two were maying," Duet MS, Henschel, words by Charles
" I^AUST " has been re-damned according to Berlioz, by Theo. Thomas Kingsley, MissBailey and Mr. Henschel. " Minnelied," Brahms, " D e r Asra,"
JO and a very thorough orchestra. I have written so much about this Rubinstein, " Widmung," Franz, " Ich grolle nicht," Schumann, Mr. Hen-
gentleman (the first, named one) and his troubles, that I trust I may be schel. " Oh, hush thee my babie," "Sing Heigho," Henschel, Miss Bailey.
absolved from saying any more. There is in fact nothing to be said save Five songs from the cyclus, " Die schoene Muellerin," Schubert, Das
that the chorus was poorer than under Lang, the orchestra better, and the Wandern—Wohln?—Der Neugierge—Pause—Eifersucht und Stolz, Mr.
possession of two harpists, gave the final number a better color than the Henschel.
Mr. Henschel was at his best in " Ich Grolle nicht," which he gave with
substitution of pianos did in the previous representations.
The Cecilia Club has given an excellent concert since my last letter. ust the contemptuous, denunciatory power which Schumann and Heine
It took place at Tremont Temple, Jan. 24th, and had the advantage of full ntended. After his successes as a Handelian singer, and his powerful per-
orchestral accompaniment. It began with the picturesque " Ruins of formance of Mephistopheles, it was a surprise to find him a lied singer of the
Athens " music (Beethoven) which was well sung, even in the final chorus, first rank also; for very few who attempt the grand school make a success in
which, as is often the case with Beethoven, makes demands of the female this quieter and more poetic vein. I was not so much surprised to find his
chorus which even soloists might find it hard to satisfy. Beethoven who so compositions of the most perfect mould. What I have seen of his work,
thoroughly knew what effects he might evoke from any instrument, seems both from German and English publishing houses, proves him one of the
seldom to have cared, in a mixed chorus, for the limitations of the vocal worthy composers of the day. He is a very "Admirable Crichton " of music,
cords, (see his " Meerestille," or the 9th Symphony), and it was an unex- and does all his work well. I did not entirely agree with his idea of " Der
pected pleasure to hear this number given without screechiness. The " Der- Asra," and in songs of this almost effeminate order his manly and broad
vish Chorus " was also an exceptionally good number, being full of manly voice is a hindrance. The color of the human voice has its limitations. I
power and vigor. The applause given to these two numbers, and to the also might wish for a less bright pronunciation of the vowel " ee " in his
" Turkish March " Avas emphatic and deserved. The march preceeding the singing. His piano playing was entirely satisfactory, his accompanying
Finale (Theatre Chorus), was not so well done, the horn being in many superb.
dilemmas (were I ever given to light writing I would say something here
Miss Bailey was in excellent voice, and seemed at far better advantage
about the horns of a dilemma) and breaking frequently.
n such a hall and in such a concert than in the Music Hall in oratorio. Her
Following this came Grieg's " At the Cloister Gate " which was given at voice is so pure, sweet and sympathetic, that it is liable to lose some of its
the last concert of the club, with pianoforte accompaniment only. At that charm when at all forced. She sang the "Lullaby " and " Oh, hush thee,
time we found the work monotonous but suspected that Gade (the greatest my Babie!" exquisitely; but all of her numbers cull for great praise.
It was a concert of concerts; all was natural, unaffected, and musical.
of colorists) had intrusted much of the interest to the orchestra. I was not
mistaken ; the complaint of the homeless maiden seeking admission, is Would that such programmes might oftener be heard in America, and
echoed in the orchestra in such distorted guise that it seems the picture of a always either in a small hall or large drawing room.
mocking world ; the strings have a powerful passage at the point where
To-morrow the Handel and Haydn Society give the Mozart " Requiem "
grief overpowers her; at the words "Unlock! Unlock! I faint at your and Beethoven's "Mount of Olives "—both seldom-heard works.
door ;" the close too, where the organ subsides and the cadence is given by
Mr. Geo. W. Wheeler concluded the Bay State series of entertainments
brasses and timpani, is also very effective. Miss Ita Welsh sang her short last Thursday with the Thomas Orchestra and Joseffy. It was an excellent
but expressive phrases very finely, but Mrs. Hooper, although she began programme throughout, Massenet and Rubinstein being represented in
well, was not able to carry the climax to its proper height.
charming ballet music, and Liszt's " Hungarian Fantaisie " being done by
The concert closed with Dudley Buck's " Golden Legend." I found Joseffy. The sensible custom of accepting no encores was adopted. The
musicianly ability in every bar of this work, but not always dramatic power. Bay State course has fulfilled every promise and given a surprisingly good
The opening number is a strong one, picturing Satan trying to tear down series. I know of no manager in the country more trustworthy and consci-
the cross from Strasburg Cathedral (I feel quite at home in such subjects, ntious than Geo. W. Wheeler.
for what with Liszt, Berlioz, Boito & Co., I am becoming a connoisseur in
I might close my letter with a few desultory remarks about the weather,
satanic music), wherein the imps are de'picted by uncanny skips and the war only the remarks might be too strong for your columns; and 1 console
of the elements by chromatic rushes. The chorus at times reminded me in myself in the midst of dreariness by playing Paine's " Spring Symphony,"
their manner of Mendelssohn's "Heathen Choruses " in " Elijah." Satan, which has just been published.
L. C. E.
however, was not so black as he was painted, and became rather mild in
Mr. Dudley's hands. Only one of the solo numbers was satisfactory, and
that was the complaining recitative and aria of Prince Henry (Mr. Hayden),
CINCINNATI,
which is of contrasted emotions, though chiefly of lyrical character. At one
point (at the word "despair") there enters a dissonance of oboe and bassoon, THE OPERA FESTIVAL.—THE CLERGY AND THE OPERA.—EFFORTS TO ENLIST OUR
CORRESPONDENT'S SYMPATHY—A REMARKABLE CHILD VIOLINIST.—HART-
which is entirely a la Boito.
DEGEN'S VIOLONCELLO RECITAL.—KARL PALLAT's PIANO RECITAL.—STRAY
I by no means wish to hint at plagiarism, or even imitation, but of
NOTES.—COWARD LOCKWOOD's ADVERTISING METHODS.
modern influence.
Much of the following numbers is colorless, notably the chorus of the
CINCINNATI, Jan. 29, 1881.
angels, which might picture anything.
r
T^HE
approaching
opera-festival
monopolizes
musical attention at present.
There is a, quartette a capella, which is a fine example of strict writing.
The unprecedented demand for choice seats, and the successful result
The "Pilgrims' March " is well w.irked out, but at first its short figure of L
three notes, jerky, and often repeated, seems too mysterious for a sober and of the auction sale on the 26th, have put the managers in very jubilant
orderly lot of pilgrims. This incongruity ceases on the entrance of a broad mood. Lou Ballenberg, the arch-antagonist of the enterprise, on the other
and religious theme on the basso. The "Revel" (for oichestra) seems not hand, has nothing more to say. He thought he knew our people well enough
to be a very wild one. The "Sailor Song" is again of a high order of when he prophecied the total failure of Colonel Nichol's " humbug music-
merit. But the finale is of really imposing grandeur. Of Elsies music 7 circus." Henceforth he will meet them as strangers. Already nearly $35,-
should not fully judge, for it was done in a very faulty manner, and the com 000 worth of season tickets have been sold. The first day"s sale amounted
poser's intention was lost. The same can be said of Lucifer's numbers, and to $14,060.55, of which $1,148.55 was in premiums, the average premium
partly of the Prince's. A second performance may eliminate the weak spot; over cost of seat being $5. This remarkable result throws the May Festival
and develop new beauties. The chorus did well throughout the evening, sale into the shade, and a great financial success is assured for Col. Nichol's
daring scheme. The artistic part depends so entirely upon the over-reliable
and Mr. Lang's work was apparent in this and the orchestral departments.
The Boylston Club gave a concert Jan. 19th, which presented a popular Mapleson, that it will take time to determine its true proportions. The sale
of single seats for the Festival will begin on the 7th prox. All the talk
programme.
The most severe numbers were one by Michael Bach, and one by Rhein about the impracticability of erecting a suitable stage in Music Hall was
berger, but most romantic were the " Pictures of the Year," by Gade, and unwarranted. No one who visited our beautiful temple three months ago
the " Romance of Love," by Hofmann. Both of the last named consist o would have thought that it could be transformed into the perfect opera
. several contrasted numbers and picture varied emotions. Some good con house it now is. But Col. Nichols had secreted Alladin's lamp, and so could
certed singing was done in tiiem by Mrs. J. M. Noyes, Miss Annie Abbott, laugh at the incredulous critics. As it now stands, the stage is one hundred
and twelve feet wide, about sixty deep and seventy-five feet from floor to
and Mr. Julius Jordan; particularly the first named lady.
In the simpler numbers, such as " How Can I Leave Thee," and " F i d o ceiling. The seating capacity of the hall is cut down to 4,400, with plenty
lin," the male and female choruses seemed to vie with each other in finished of " standing room." The scenery, curtain, and other stage appertenances
shading. In the more intricate numbers too, all was satisfactory, save tha are approaching completion, and nothing but the hostile attitude of our
more force might have been used at certain passages of the '' Prayer Before local preachers stand in the way of Cincinnati's creating one more " e r a " in
the art-record of our country.
Battle."
But dominies are working themselves into a state of frenzy over the
The "Spanish Serenade," and Vierling's " Brier Rose " deserve specia
mention for their dainty and refined performance, and the power of th operatic features of the College of Music. They have held numerous meet-
second basses, in the " Battle Prayer" and " How Can I Leave Thee " told ings and formerly denounced Col. Nichols and his followers. The Rev. Mr.
out excellently. Although no large works were attempted in this concert, Rishell called upon the MUSICAL CEITIC correspondent in person to evoke his
the constant and hearty applause of the audience testified that it was one o: aid in suppressing what the reverend gentleman characterized as a " shame-
less proceeding." " Why," he exclaimed, " talk about the theatre! I once
the most appreciative occasions.
Mr. Satter's Recitals. I have as yet been to but one of these, and found went to hear ' Mignon,' the purest of operas, and there I beheld Miss Kel-
the pianist to possess a technique of marvellous completeness, and united logg slapping her legs and capering around before men and women on and
off the stage. Once," he continued, " I felt glad that the Music College had
with it a dash, a brio, and abandon which many of the intellectual school oi
pianists might well copy. His "Tannhauser" overture bristled with dim 1 settled in our midst; but now I cannot advise any lady to go there."
Mr. Rishell is a prominent pastor and an able young minister, but
culties which he surmounted with ease, and his performance of Mendels
sohn's " Scherzo" in E minor was praiseworthy. Yet his school is not that surely the clergy might easily do a more sagacious thing than devote valu-
of the present, and the operatic transcriptions and concert-waltzes which able time and strength to periodical attacks upon a style of art which the great
thinking public regard as of representative excellence. But doubtless the
he performs appeal to a past taste.
Mr. Henschel's recital took place at the Mieonaon, just too late to b little excitement which the ministerial opposition has created helped to swell