nor will it persuade the public to treasure him more greatly or love him more
fervently. Herbeck was an accomplished musician, but not even a mediocre
composer. For composition he lacked the most rudimentary craftsmanship,
not to speak of any special talent. Dvor̆ák's new Piano Trio in F minor is not
without some interesting moments. The second movement especially, given a
Bohemian physiognomy by a folk tune, stands above the others. The last
movement, because of its rhythmic monotony, has a sheerly soporific effect.
Only with the opening measures of the Beethoven String Quartet did music‐
sated spirits awake, especially when Hellmesberger played the Adagio with his
characteristic sweetness and warmth, excellently supported by his colleagues.
That Herr Hellmesberger, however, has moved his quartet into the Grosser
Musikvereinssaal remains an inexcusable absurdity, however large the
The composer of Una Cosa Rara was not
Vicente Martin y Soler ( 1756- 1806).
It was produced in Vienna in 1786, and
Mozart quotes an air from it in the supper music in Don Giovanni. The Dido of
Nicola Piccini ( 1728- 1800). a composer better remembered for
his rivalry with Gluck in Paris, was produced in Vienna in 1783.
Karl Mayerhofer ( 1828-1913), a Viennese, the company's leading basso buffo over a span of
forty years ( 1854-1895). At the time of his retirement he was reckoned to have taken part in
some 4.000 performances.
Willibald Horwitz ( 1843-1903), a Bohemian baritone who sang leading roles at the Court
Opera from 1879 to 1900. He was also active as composer, conductor and pedagogue.
Louise Meisslinger ( 1861 ?), a Viennese, only briefly ( 1883-1886) with the company.
Benno Schönberger ( 1863-1930), a Viennese virtuoso who settled in London in 1887, where
he taught at the Royal Academy of Music while continuing as a public performer.
Eduard Marxsen ( 1806-1887), with whom Brahms studied in the Hamburg suburb of Altona.
Johann Herbeck ( 1831-1877), a Viennese, conductor of the concerts of the Society of
Friends of Music ( 1859-1870 and 1875-1877) and Director of the Court Opera ( 1870-1875).
11. Berlioz's King Lear
March 30, 1884
At last, at last, we have had a performance of Hector Berlioz's Overture to King Lear.
1 announced year in. year out, but hitherto always postponed.
Now, for the first time, we saw this monster of musical ingenuity unfold its
gigantic frame, which already had fairly scared us out of our wits in the piano