Organ Music

Source: The Musical Times and Singing Class Circular, Vol. 38, No. 658 (Dec. 1, 1897), pp.
815-816
Published by: Musical Times Publications Ltd.
Stable URL: https://www.jstor.org/stable/3367193
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 THE MUSICAL TIMES.-DECEMBER I, 1897. 815

suggest that no possible choral and deservedly represented by Smart, Best, Hollins,
instrumental
developments connected with Church Lemare,music need
and Sir John Stainer, whose contribution to
be regarded as visionary. Dr. Varley Roberts's the scheme was an Impromptu from the set of recently
Evening Service in C and Professor Prout's anthem published "Six Pieces for Organ." A large measure of
" Behold, my servant," were effectively rendered justice was done by Dr. Wilson to modern Italian
upon this occasion. organ music, the composers being Morandi, Fumagalli
Some five-and-twenty years ago it was observed: (by the "Capriccio alla Sonata"), Bossi, and Petrali,
"the Cathedral system is on its trial." Since then several of these works showing the marked advance
our Cathedrals have been gradually regaining themade of recent years by Italian writers of organ
position they held ages ago as centres of public music, in the recognition of the becoming dignity
worship, and they are now becoming in addition the and breadth of style necessarily characterising music
places in which are to be realised the most completeintended for "the king of instruments."
and imposing presentations of sacred music. At recent recitals given by Mr. Fountain Meen in
the Union Chapel, Islington, and at St. Peter-upon-
The great annual Service held at St. Paul's as this
year, on the i8th ult., the twenty-fourth anniversaryCornhill, the programmes included Serenade (Widor),
of the London Church Choir Association, is one of Caprice (Wolstenholme), Fugue in F (E. Bernard),
the many evidences of the splendid work now being and other interesting pieces.
carried forward in our national Cathedral. The To lovers of organ music the recitals, all too
united choirs upon this occasion formed a chorus few, which Sir Walter Parratt gives are matters
of some twelve hundred voices. Sir George Martin of special interest. His recital on Mr. Gern's four-
directed the music with unfailing tact and quietmanual organ at St. John Baptist, Kensington, on
firmness. The principal pieces were Sir George the 17th ult., presented a scheme well calculated to
Martin's own Jubilee "Te Deum" and Sir John display his fine technique, breadth of style, and sound
Stainer's anthem "Lord, Thou art God." A full judgment. The solos included Toccata in D minor
(Bach), Andante Religioso (Liszt), Fantasia in F
report of the Service is given in another column.
(Mozart), Sketch (Schumann), Prelude (Chaminade),
"Scandinavische" (Rheinberger), and " Ita missa
ORGAN MUSIC. est " (Lemmens).
It will be remembered reference was made last
month
EXIGENCIES of space forbid the insertion of to the valuable and interesting recitals given
organ
recital programmes in these columns atbyfull
thatlength;
accomplished master of the organ keyboard,
but in the interests of artistic progress, features
Herr Fihrmann, of of Dresden. Mr. W. L. Hubbard,
such schemes, displaying novelty and an illustrating
esteemed correspondent now residing in that city,
artistic activity, will receive attention. sends a special account of the succeeding performance,
The list of pieces played by Mr. T. B. aRutherford,
matter in which English organists will be specially
interested. The account is as follows:-
of North Berwick, at a recital given at Bournemouth,
included Vorspiel (" Parsifal "), Wagner, and " Thean second
ElegyGerman-English organ concert,
and Adagio by Flavel. In the course of given two on recitals
the IIth ult., in St. John's Church, Dresden,
given by Mr. Leonard Heneker, at St. by George's
Herr Hans Fiahrmann, attracted an even larger
audience
Church, Wrotham, Kent, on the 5th ult., the schemes than did the first "-notice of which was
included Pastorale (" L'Angelus "), W. W. made Starmer;
in our last issue--" and proved that the
Boellmann's "Gothic " Suite, a work of real endeavour to introduce to the Dresden public the
interest,
consisting of Introduction, Minuet, "Ave chief Maria,"
creations of English organ composers is
and Toccata; Andante and Allegro, Bache, awakening the interest of music-lovers in the Saxon
a gifted
composer and useful teacher, whose early capital. It is gratifying that our native composers
departure
was a loss to the art; and English standard can have their works first made known to German
works
by Smart and Calkin. Mr. J. Preston's auditors programmes by one so thoroughly master of his
for the 8th ult., at the Union Congregational instrument as is Herr Fiahrmann. Standing as he
Church, Sunderland, included a Pastoral Interlude does among the very first of Dresden organists, and
by H. W. Parker, Hatton's excellent Toccata in known as he is throughout Germany and Switzerland
F sharp minor, the fine Fantasia written byby E. virtue of successful concert appearances in the
Silas for the organ opening at Blenheim Palace,chief cities of those countries, his placing of any
selection upon a programme is assurance of its
and Salome's Offertoire in D flat. Mr. A. H. Allen
gave recitals at St. David's, Denbigh, on the IIth and artistic performance.
finished
" The numbers by English writers played at the
ult., including an interesting piece entitled "On
late concert were Best's A minor Fugue, Battison
a bass " (Sir John Stainer), from the recently published
" Six Pieces for Organ," and the too-little played
Haynes's ' Introduction and Variations on a Ground
Andante in G major (S. S. Wesley) and FantasiaBass,'
in C and W. G. Woods's Concert Fantasia and
Fugue in C minor. Reviewing the concert in the
(B. Tours). Mr. E. Barnes played at St. Sepulchre's
Church, Holborn, on the I6th ult., a programmeNeueste Nachrichten, Otto Schmid, the well-known
critic, wrote: 'The last two numbers' (Haynes's
including Gade's Moderato, Allegretto, and Allegro.
Introduction and Variations and Woods's Fantasia
Mr. Silver's recital scheme at St. Martin's, Caerphilly,
recently given, included typical specimens ofand Fugue) ' must be designated exceptional works.
the
organ music of Smart and S. S. Wesley. Mailly's
Both give evidence of rich, glowing creative power,
the former in the strong, virile effectiveness of its
" Marche Solennelle " and one of Smart's charming
Andantes were played by Dr. G. H. Smith, at construction, the latter in its finely elaborated middle
Sculcoates Parish Church, at a recent recital. part, wherein the melodic element, while bridled by
At Ayr Old Church, Dr. D. F. Wilson and Mr. masterly counterpoint, is given ample play, and
J. Edgar recently gave organ and violin recitalsfinally merges into a Fugue built up on a splendid,
illustrating "the great schools of music." The noble theme. Both works received a performance
composers of German organ music included Bach, that assured in advance their effectiveness."
Mendelssohn, and Rheinberger. But why notThe thanks and congratulations of British musicians
Merkel's beautiful Adagio written for organ and are due to Herr Fiahrmann for his generous efforts
violin? Lemmens, Batiste, Wdly, Guilmant, Widor,in creating an intelligent interest in our modern organ
and Dubois represented France. England was music, and for efficiently illustrating the organ works

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816 THE MUSICAL TIMES.-DECEMBER I, 1897.
The scheme included Grieg's Pianoforte Conc
of composers of all the chief musical nationalities
in one of the world's principal art-centres. minor, the solo portion of which was admirably i
Mr. W. E. Fairclough gave a recital, with a by Mr. Frederick Dawson; the " Peer Gynt "
specially interesting programme, at All Saints' three of his songs, expressively rendered by
Church, Toronto, on the 6th ult. The scheme Marcella Pregi. The charmingly delicate manner
the orchestra played "Anitra's Dance" from the S
included Bach's Prelude and Fugue in A major, merited the encore which it received, a similar co
Rheinberger's Sonata in C minor, " Andante being paid to the characteristic " Dance of t
Grazioso" (C. Swinnerton Heap), Scherzo in A minor
The concert, which commenced with the " Dead
(Best), and "Adagio " from Sonata, Op. II (Otto
Saul," played as a tribute of respect to the m
Dienel). Mr. A. H. Gibbons's scheme for a recital at the Duchess of Teck, included Beethoven's
H.R.H.
"Fidelio" Overture (No. 4) in E and Mendelssohn's
Cirencester, on the 2nd ult., included music by Rhein-
berger, Guilmant, and Schumann. It is curious" to Italian " Symphony, the latter in commemoration of the
note how frequently certain movements fromfiftieththe anniversary of the composer's death.
At the concert of the i8th ult. Herr Moritz Moszkowski
pianoforte music of the last-named composer are now
being effectively played as organ pieces, althoughmade his first appearance before a London audience since
originally conceived under conditions calling Junefor
of
2, 1886. By a strange coincidence the programmes
both concerts contained one of the three ' great"
nice tone gradations, the result of the sense of touch
symphonies of Mozart composed in 1788, one of the two
peculiar to the pianoforte. great soprano airs of Beethoven, and a violin concerto.
They were: in I886, the G minor Symphony, " Ah!
THE ROYAL CHORAL SOCIETY. perfido," sung by Madame Christine Nilsson, and Beet-
hoven's masterpiece for the violin, played by Ondricek;
THE twenty-seventh season of the Royal
andChoral Society
at the last concert, the " Jupiter," " Abscheulicher !
was commenced, on the IIth ult., in a most
wo eilstauspicious
du hin ? " from " Fidelio," and Herr Moszkowski's
manner with an exceptionally fine performance ofrefined,
melodious, Mendels-and fanciful, though lengthy Concerto
sohn's " Elijah," under the conductorship(Op.
of 30)
Sirin Frederick
C. The violinist on the I8th ult. was M. Charles
Bridge. The choir has been increased by Gregorowitsch,
the additionwho of combines
a a very agreeable, though
considerable number of fresh voices and the volume of tone
small tone, and a remarkably fluent and "elegant"
in the choruses was remarkably full and rich in quality. technique with a gift of unaffected expression, which
The rendering of the choral portions also showed that the was fully equal to such demands as the charming music
familiarity of the work had not caused the rehearsals tomade
be upon him. We cannot greatly admire Herr Mosz-
slighted. The tonal strength in the crescendi and diminuendi
kowski's ballet music to his opera " Boabdil, der letzte
was finely graduated, and a very effective point was made Maurenk6nig."
by It is all highly effective and extremely
a sudden drop from forte topiano in the last bar of the first
clever orchestration and very little else. The melodic
Baal chorus. In the chorus " Behold, God the Lord," the material is by no means remarkable and shows a decided
delivery of the words " And after the fire there came a still
falling off in freshness and inventive power generally when
small voice" was made more than usually impressive bycompared, say, with his delightful Spanish dances for
the preceding chord being held on loud until the end of the
pianoforte duet, which they otherwise resemble. Still, the
bar. These and several other points indicated painstaking
three pieces (Malaguefia, Scherzo-Valse, and Maurische
rehearsal, which certainly had its reward. The chorusFantasie) are so bright, so strongly rhythmical, and so full
"Thanks be to God" might have been taken slower of esprit that the charge of dulness cannot be made
with advantage to its dignity, and the same remark appliesagainst them, and for this we are devoutly thankful. The
to the tempo of "O rest in the Lord." ConcerningFantasie, being the most original as well as the noisiest of
Madame Albani, Mr. Edward Lloyd, and Mr. Santley the three movements, was encored. Mdlle. Rosa Olitzka
in such well-known music there is only need to say that sang a long air, " Erfilllt mein Sehnen," from the same
each of these gifted artists was in excellent voice and gaveopera, which proved rather ineffective, and Beethoven's
adequate expression to their respective solos. Considerable great air from " Fidelio." Sir Alexander C. Mackenzie
interest was, however, centred in the principal contralto conducted a very graphic and stirring performance of the
soloist, as this was the first occasion upon which Mdlle." Flying Dutchman " Overture, and the ever wonderful
Giulia Ravogli had been heard in London in oratorio.
"Jupiter " Symphony closed the concert.
Mdlle. Ravogli's success was quickly put beyond a doubt.
The necessary training has greatly improved her vocal
means, she has acquired the broad and dignified style
required in English oratorio, and her pronunciation, although RICHTER CONCERTS.
slightly tinged by a foreign accent, is clear and emphatic. FOR the second Concert of the autumn series, on
Contrary to expectation, Mdlle. Ravogli was more successfulOctober 25, Herr Moritz Moszkowski's Orchestral Suite,
in the lyrical than in the dramatic portions, but this may No. i, in F (Op. 39), was promised, but keen was our
be adduced as a proof of how excellently she has beendisappointment upon learning that, "'owing to unforeseen
trained and how thoroughly she has apprehended thecircumstances," it could not take place. This was bad
requirements of her new departure. It should be added that
enough, but to substitute such a terribly hackneyed
able assistance was given by Miss Teresa Blamy, MissWagner selection as the Vorspiel und Liebestod from
Muriel Foster, Mr. William Fell, and Mr. Harry Dearth," Tristan " was like adding insult to injury. Verily, the
and that the double quartet and other concerted numbers very titles of these two wonderful pieces of music will
have rarely been more beautifully sung. drive us away from concert halls before long! The pro-
gramme included Berlioz's extravagant, though in parts
PHILHARMONIC SOCIETY.
beautiful and affecting, " King Lear" Overture (Op. 4);
Dvorik's fresh, fascinating, and altogether delightful
THIS veteran Society, now in its eighty-fifth Symphonic Variations-a
year, has most welcome revival after his
taken a new departure in instituting angruesome
autumn and childish
series ofSymphonic Poems; Smetana's
three concerts, for which the directorsbrilliant
have and exhilarating
engaged the" Lustspiel " Overture; and, last
well-known composers Grieg, Moszkowski,but notand least, Schubert's magnum opus, the C major
Humper-
dinck to appear as conductors of their Symphony.
own works. An admirable
Dis- programme (for, after all, we
enjoyed
appointment was keenly felt at the first the "Tristan"
concert of the pieces as much as ever!) and
series, on the 4th ult., owing to the non-appearance,
admirably performed, on the whole.
through illness, of Dr. Edvard Grieg. InAt thethe regrettable
third and last concert, yet another Wagner
absence of the Norwegian composer, programme! It was C.
Sir Alexander less hackneyed than the average,
or we
Mackenzie conducted the entire concert, and, letshould say with
us add, nothing about it--eg., the " Faust "
and " Meistersinger"
exceptional success. There was a marked and welcome Overtures, Sachs's " 1Wahn, Wahn "
improvement in the performances of Monologue, Pogner's "Address," and the Prelude to
the Philharmonic
Actfor
orchestra, which has not played so well III.-all fromtime.
a long " Die Meistersinger "-the closing

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