Herr Otto Roth was more discreet. He played Bruch's Violin Concerto No. 2 [in D minor, Opus 44], and bored the audience most amiably with his unending flow of tone. Herr Roth has reasons to present himself as an "expressive" player, since he cannot allow himself the luxury of an ever so modest technical display. Two days later, when I made the acquaintance of the sympathetic physiognomy of the "sentimental coachman" in the last number of the Fliegende Blätter, I thought immediately of the heartbreaking violinist of the most recent Kretschmann concert, which is not to say that Herr Roth played like a sentimental coachman.
Authors of the novelties mentioned earlier were the Messrs Blasser4 and Louis Rée. 5 Had I to draw a parallel between the two composers, I would come to a quick decision and say: The one composes gaily, the other sadly, and both as trivially as can well be imagined. Herr Blasser made his debut with a small Serenade for String Orchestra, adding most respectfully a few thoughts of his own. Herr Rée made his with a Funeral March and a Gavotte. We were left with eerie and certainly very funereal apprehensions about the fate of the two composers.
As my neighbor said, Herr Rée is reputed to be a charming, delightful fellow. I was glad to hear it. To be a bad composer and an unlikable fellow, too — indeed, that would be too much!
March 6, 1887
Meister Suppé has this time put the patience of his numerous admirers to an unreasonably severe test. More than two years have passed since his Die Afrikareise [ The Journey to Africa], and only the opening of a new libretto