zurück 11.1.1913, Samstag ID: 191301115

Kritik zur Amsterdamer Aufführung der 2. Symphonie im Algemeen Handelsblad (*).

Joseph Riederer bestätigt, 4 Kr für die Totenschaugebühr (Ignaz Bruckner am 4.1.1913) erhalten zu haben (**).

Johann Leixl quittiert den Empfang von 84 Kr für die Rechnung vom 10.1.1913 (Sarg für Ignaz Bruckner) (***).

Aufführung der 4. Symphonie durch das St. Louis Symphony Orchestra unter Max Zach im Odeon in St. Louis. Auf dem Programm stehen außerdem Werke von Wolf-Ferrari, Volkmann (Solist: Carl Webster, Cello) und Chabrier (°).
[Wiederholung vom 10.1.1913.]

Der St. Louis Globe-Democrat Nr. 237 bringt auf S. 4 eine Besprechung des gestrigen Konzerts:
"                 FINEST MUSIC MATINEE
ST. LOUIS SYMPHONY ORCHESTRA AND CELLO SOLOIST IN BEST FORM.
                                      [...]
     At the seventh Symphony Orchestra concert yesterday afternoon the body of the programme was German, the ornamentations Italian and French. Mr. Zach began with the Wolf-Ferrari overture to The Secret of Suzanne, and followed with Bruckner's "Fourth Symphony" in E flat, known as the "Romantic." [... wetterbedingt schlechter Besuch ... "one of the pleasantest musical afternoons" ...].
     And so it was, richly and resonantly. [... Wolf-Ferrari ...].
     Then came Anton Bruckner's important symphony. Again is Mr. Zach to be commended for choosing this work, in which the unhappy composer attempts to say a great deal, but has to fall back on numerous inconsequential repetitions to fill his symphonic form.
                 As to Bruckner's Romantic.
     Abounding in many curiously wrought tone effects which demonstrate the possesion on the part of the tone-poet of a firm grasp of orchestral resource, Bruckner's Romantic keeps the word of promise to the ear, but breaks it to the heart. Its message is nothing in particular and leaves the dirigent no choice save that of following his partiture. The andante, in nearly all other similar works a melodious and dignified passage, becomes a series of almost funeral strains in the Bruckner; and, as on a former occasion, while the orchestra was playing it, the bells of the near-by Rock Church tolled, the hour being 3:30 (their custom always in the afternoon), and this added the further note of lugubriousness to the moment. The audience, however, instinctively assured itself that this sad strain could not last. Nothing preceding indicated that an andante ought to be transformed into a marcia funebre, even though one sad-hearted German, struggling with adverse life conditions, could not have been in a joyous humor when he wrote it. The succeeding scherzo was truly bright, "heiter," as the Germans would say, joyous, almost jocose, as we have it in  our mother tongue. The finale partook of a martial nature. While the orchestra wrought earnestly to weave into a cable of perdurable toughness all the loose strands of the previous movements it was beyond the band to do more than accentuate the pale content of the composition. Mr. Zach extracted all its music value, but it was plainly to be seen that he had to call on his reserve force to do it.
                  Webster Simply a Joy.
      A little innovation in cello-solo presentation [... Cello-Podest, "ein Resonanzboden" ... zwei Zugaben ... Chabrier ...].
     To-night at 8:15 the same programme will be repeated." [keine Signatur] (°°).

Die St. Louis Post-Dispatch Nr. 144 schreibt auf S. 4:
"SOLO CELLIST AND ORCHESTRA SCORE AT ODEON CONCERT
                             [...]
     By RIPLEY D. SAUNDERS.
THE Symphony Orchestra essayed its first interpretation of Wolf-Ferrari's "Secret of Suzanne" overture at its Odeon concert of Friday afternoon, to be repeated this evening, and also presented, for the first time in St. Louis, the Symphony No. 4 in E Flat of Anton Bruckner's composing.
     [... Carl Webster (Bostoner Cellist), Volkmann a-Moll op. 33, 2 Zugaben ...].
     Max Zach's men presented [... Wolf-Ferrari ...]. Then, in fine contrast with this superficial though piquantly relishful "bit," they gave to the Bruckner symphony as full a revelation of inner meaning as is possible to that composition.
     Bruckner, however, does not measure up to the standard of genuinely great symphonic dreamers. He says a vast lot of things–in quantity–and his inventive ingenuity is marvelous, as, also his knowledge of the orchestra as an expressional voice. But he says nothing really big and deep, and, indeed, does not carry to a satisfying conclusion the many things which he apparently starts out to say.
     He approaches most closely the complete expression of a mood in the second movement of this symphony, the andante, but there his form is not correct, the song of his singing being far more somberly dramatic, even tragic, after the fashion of a dirge, than purely lyric. But there is much richness and novelty in the score, the full beauty of which was well developed by the Symphony Orchestra's treatment.
     The ever popular and colorfully picturesque  "Espana" rhapsody of Emmanuel Chabrier's composing, constitutes the program's final number. [...]
     And such a vile afternoon as it was, speaking by the weather card! Lowering dun skies of a dismal gray-brown, a persistant rain of exasperating chilliness, streets fairly swimming in sleety slush, sidewalks slippery and wetly treacherous–the wonder is that enough people to fill the Odeon nearly half full were sufficiently loyal to music to venture out in such a day." (°°°).

The St. Louis Star and Times Nr. 11288 bespricht das Konzert auf S. 7:
"Carl Webster Wins Favor of Symphony Audience
     Rain and slush did not prevent a good crowd going to the Odeon, Finney and Grand avenues, Friday afternoon, to hear the Symphony Orchestra, aided by Carl Webster, violoncellist, who appeared as soloist.
[...]
     The house was more than half filled. [... Volkmann, 2 Zugaben ... Wolf-Ferrari ...].
     The somewhat heavy and stilled Symphony No. 4 in E flat, by Anton Bruckner followed. Though this Austrian's light symphonies are not branded as meritorious by the musical world, this one was received by the concert-goers Friday with a measure of genuine admiration. The intricate inwoven melodies offered no impediment to Mr. Zach and his musicians. He made the meaning of the composition obvious. The printed programme presented both a biographical sketch of the author and an explanation of the music of each number, thus lending personal interest as well as teaching "how to listen." In presenting this fourth symphony. Mr. Zach gave an offering not before heard in St. Louis. It is rather austere music, at times catching the mood of Wagner, and always abounding in originality of melody.
     The "Espana" rhapsody, [...]. It was perhaps the most generally enjoyed of all the orchestral work. The programme will be repeated tonight.
     [... Ankündigung der nächsten Konzerte ...]." [keine Signatur] (#).

Die Westliche Post Nr. 11 (St. Louis, Missouri) schreibt auf S. 5:
"                              Das Symphonie-Konzert.
             Orchester und Solist bieten vorzügliche Leistungen.
Bruckner's Symphonie No. 4 die Glanznummer des Orchesterprogramms.
       Carl Webster findet als Solo-Cellist begeisterte Aufnahme.
     Das [sic] trotz des miserablen Wetters der Besuch des gestrigen Symphoniekonzerts kaum hinter dem der übrigen bisherigen Freitag Nachmittag-Konzerte blieb, bewies zur Genüge, daß diese Konzerte unter ihren regelmäßigen Besuchern festen Fuß gefaßt haben, und daß sie die Genüsse, die ihnen bei denselben geboten werden, hoch genug schätzen, um sich nicht durch lästige Witterungsverhältnisse von ihrem Besuch abhalten zu lassen. [... Hochgenuss ... Carl Webster (Volkmann und zwei Zugaben) ...].
     Die Glanznummer des Orchesterprogramms war unstreitig Bruckner's Symphonie No. 4 (Romantisch"), die bei dieser Gelegenheit zum ersten Male in St. Louis zu Gehör gebracht wurde. Das Tonwerk erfuhr durch das Orchester unter Max Zach's Leitung eine Wiedergabe, die seine Schönheiten und Eigenheiten zur vollen Geltung kommen ließ. Seiner Bezeichnung "romantisch" kommt es im dritten Satz einem wunderhübschen Scherzo, am nächsten. Im Allgemeinen ist es eine recht gefällige Tondichtung, der durch eine reiche Instrumentation ein imposantes Gepräge verliehen wird. Wenn man in dem vierten Satz vielleicht eine weniger starke Verwerthung der Blechinstrumente wünschen möchte, so ist das doch schließlich Geschmackssache, die den eigentlichen Werth des Tonwerks nicht beeinträchtigt. Die Streichinstrumente haben eine sehr dankbare Aufgabe und dasselbe gilt von den Flöten und Klarinetten, Und da gerade in dieser Hinsicht die Leistungsfähigkeit unseres Orchesters auf einer hohen Stufe der Vollkommenheit steht, konnte eine vorzügliche Wiedergabe des Tonwerks nicht ausbleiben.
     Das Konzert wurde mit der Ouvertüre zu "Susannes Geheimniß" von Wolf-Ferrari eröffnet [... Chabrier ... Lob für das Orchester ...].
     Das Konzert wird heute Abend wiederholt.
     [... die nächsten Konzerte ...]." [keine Signatur] (##).


Zitierhinweis:

Franz Scheder, Anton Bruckner Chronologie Datenbank, Eintrag Nr.: 191301115, URL: www.bruckner-online.at/ABCD-191301115
letzte Änderung: Feb 02, 2023, 11:11