rounding off of melodic and rhythmic nuances" and similar relevant matters, of all of which, in his performance of "Ideale," there was precious little to be discerned, not to mention the wrong tempi.
The following Piano Concerto in A major found in Herr Reisenauer6 an intelligent and technically adept interpreter. The 13th Psalm for Chorus, Solo and Orchestra may well be the most fervent prayer that ever burst forth in harmony. It is the quiet turning in upon itself of a profound and truly religious nature. The music breathes a saint's joy in the faith, the transfigured devotion of a martyr. It is the most glorious apotheosis of Christianity. After this composition, in which the Choral Society distinguished itself, and with Herr Winkelmann singing the solos beautifully and movingly, after these consecrational sounds, the memorial should have come to a close. To follow it with the Hungarian Rhapsody No.4 was simply tasteless, not to say tactless.
December 25, 1886
Euryanthe was performed on December 18, the master's birthday, bringing the Weber Cycle to an end. To have this work produced here must be counted among the rarest of artistic pleasures, something to be greeted with whole‐ hearted joy by everyone sincerely concerned with our cultural prosperity. We are speaking, however, of anticipation, for we doubt that the opera can bring full artistic satisfaction to the truly sensitive, and many who will have entered the opera house with high hopes on the day of a Euryanthe performance will have left it crushed and disappointed.
It was Weber's fate to be able merely to suggest his high-flown plans, not to realize them. Euryanthe, this master's child of sorrow, is actually nothing other than a practical handbook for opera composers, showing them precisely