The Music Criticism of Hugo Wolf

By Henry Pleasants; Hugo Wolf | Go to book overview

May Herr Blauwaert decide to give a second recital. The unanimous applause enthusiastically accorded him in this first concert should encourage him to do so.

1.
Pauline Schöller ( 1862- ? ), a Viennese soprano who sang principally in Dresden and Munich. As Pauline Schöller-Haag she sang at the Metropolitan in the season of 1890-91.
2.
Properly Chimborazo, a mountain in Ecuador 20,702 feet high.
3.
Jean Lassalle ( 1847-1909) succeeded Jean-Baptiste Faure as principal baritone of the Opéra in 1872. He was also a familiar and greatly admired visitor in all the major opera houses of Europe and America.
4.
Émile Blauwaert ( 1845- 1891), a Belgian bass-baritone, especially noted for his Gurnemanz in the Bayreuth production of Parsifal in 1889.

80. Rhapsodies by Brahms
and Liszt

April 11, 1886

"Who brings a lot will have something for many, and so everyone goes away contented." The Society of Friends of Music may well have been guided instinctively by the amiable philosophy of the theater director [in the Theater Prologue to Faust I] in putting together the fourth and last of its concert series. It was a stew, as motley in its constituent elements as the taste of our public.

There was a symphony by Haydn for that species of easygoing pensioner who shakes his head disconsolately at every locomotive whistle, at every newly constructed coffee machine, at Schopenhauer's philosophy, at Liebig's beef extract, at music drama, and so on. They are decent folk, hospitable and uncommonly garrulous. They love to talk about the good old days. Their favorite composer is Haydn.

Then came a Psalm [117] for double chorus [a cappella ] by Robert Franz, presumably as a favor to Herr Professor Schuster. 1 The Rhapsody for Alto, Male Chorus and Orchestra by Brahms will hardly have sent the Corybants of this musical idol into the usual state of ecstasy, as this composition has not yet reached the freezing point of fantasy and sensibility, as have the most recent works of this industrious composer. The Rhapsody is to be numbered among the best of Brahms's productions. One does not note in this piece the determination to be "serious" music. The classical toga drapery falling loosely about the crumbling frame of ideas in his symphonies, this tour de force of the tailor's art, is not yet evident in this Rhapsody. Its thoughts have no need to

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