News From VHSource, LLC Vol 6 June 2013 The People We Discover!

attend” concertizer, never garnered an even mildly bad Meet Adele aus der Ohe comment in a review, and managed to captivate the HSource fully intended to introduce you to Oscar entire American continent from north, south, east, and Hammerstein I this month. However, there are west. She may well have learned this by frequently Vtimes when one stumbles onto a magnificent story playing with a Theodore Thomas orchestra. which screams to be shared. Game Changers are usually superstars (in American vernacular “household names.”) Those who attended her American debut on December Today we are perhaps far too free with that term, but in 23, 1886 in Steinway Hall, Anton Seidl on the pre-1900 America it really meant something to be a podium, saw a slender young unknown woman step household name in this vast country with no means of out onto the stage and play Liszt’s in E-flat. cross country travel other than trains and stage coaches. NOTE: The orchestra was most likely the Metropolitan Opera Orchestra with Victor Herbert in the cello section. America’s first superstar was definitely Theodore By the final chords they knew they had been privy to Thomas, the father of the American orchestra, who took the most extraordinary performance on a piano ever the Thomas Orchestra north, south, east and west across experienced in New York City. They had no way of our vast country. For the most part America’s game knowing that Adele aus der Ohe would become changer/superstars were also men. We have been looking synonymous with ethereal musical magic in America forward to discussing Ruth St. Denis, up until now our for the next 20 years. This woman – and that shocked only female game changer. However, in the past two the populace at the time – this woman never received weeks we have suddenly stumbled onto America’s second a bad review. Never. She never had an off day in major superstar – a rather surprising young woman – performance. She never played a wrong note nor Adele aus der Ohe (1861-1937). Here was a major game failed to captivate everyone in the audience. She also changer simply because she was both a virtuoso on her never turned chosen instrument, the piano, and a brilliantly successful d o w n a woman performer in 19th century America and in Europe c o n c e r t – a huge star in a man’s world. A woman who counted i n v i t a t i o n anywhere in Tchaikovsky, Paderewski and Rachmanioff as personal this country if friends. s h e c o u l d possibly fit it Adele’s debut on the piano occurred at age 10 when she a l o n g t h e played Beethoven’s Piano Concerto No. 2 in B-flat with routes to the full orchestra in . In her final American concert larger cities. she played Beethoven’s Piano Concerto No. 5 in E-flat Think about with the Boston Symphony, Wilhelm Gernicke on the the enormity podium. Her last noted public performance appears to o f t h o s e have been at the Wagnerian Society in Stettin, statements, around 1920 playing the music of Felix Gotthelf and she was, (1857-1930), whom she was championing at the time. In between, Adele aus der Ohe never ceased to be a “must Adele circa 1886 2 News From VHSource, LLC Vol 6 June 2013 according to all the newspapers “just” a woman. (1862-1950), Anton Seidl (1850-1898) and Victor Said the New York Times on December 24: Herbert (1859-1924). In the American pecking order pre-1900, Adele aus der Ohe was solo performance ... nothing less than a virtuoso of royalty. extraordinary powers would be likely to astound such a metropolitan audience as was Born on February 11, 1861, she was the last of four gathered at Steinway Hall last evening ... In children: Sophie Adelheid Louise Ferdinandine response to most enthusiastic recalls Fräulein aus der Ohe came forward after the concerto, (1848); Bernhardine Mathilde Henriette (1850), and rendered with unflagging strength Liszt’s Ferdinand Carl Hermann Gustav (1852) and Polonaise in E major. She is the stuff of Adelheit Johanne Auguste Hermine (1861). NOTE: which great artists are made ... German naming traditions of the 19th century boggle the mind especially when one adds “aus der Ohe” after each of The 25 year old stepped unknown onto the Steinway Hall the above names. By the way “Aus der” simply means stage, and by the end of the last chord had become “from the” and was a rather antiquated way of saying “von.” Normally, we would never place such famous – perhaps one of the first classic American emphasis on siblings. However, this family unit was “overnight success stories.” not destined to remain intact terribly long. Her father, The life of Adele aus der Ohe is not only amazing from Johann Herrmann aus der Ohe was from Badbergen a performance standpoint, but from the musical world in in the Osnabruck district northwest of , which she both traveled and rose to such huge heights. Germany. He was a 54 year old professor of Just the mere mention of her education is enough to draw languages when Adele was born. Her mother Auguste awe not only to those listening to her live, but also from Sophie Charlotte aus der Ohe was 44 and a native of those of us who can only look back on her today, and Hanover where the family resided until Adele was long uselessly for even a scratchy snippet of a recording seven. By all reports, it was a relatively normal family, of this woman’s talent. not any more or less musical than any other typical German family, until the toddler Adele begged to be Adele aus der Ohe studied the pianoforte with Franz placed on a piano stool after listening to a sister’s Liszt (1811-1886) from 1873 (her age 12) until he died in rendition of Italian composer Luigi Arditi’s (1822- 1886 (her age 25). Today, her name would easily be lost 1903) “Il Bacio.” She was three and a half, and her among names such as: Eugene d’Albert, Arthur siblings humored her. Once in place the little one played the entire piece perfectly, including the left Friedheim, Alexander Siloti, Alfred Reisenauer, Carl hand. Lachmund, August Göllerich, Moriz Rosenthal, Conrad Ansorge, Bernhard Stavenhagen and Albert Knowing that Morris Bagby. NOTE: Bagby would eventually create the Bagby Musical Mornings in the Waldorf Astoria Hotel (NYC) Hanover was not a which were “must attends” on every Society woman’s list in bastion of musical New York City for 48 years (1893-1941) during the late fall and education, Adele’s winter months. father moved the entire family to However, none remained with Liszt as long as Adele nor Berlin when Adele were held in the same esteem by Liszt. These students was seven to allow followed their instructor as he summered in Weimar, her to study with Germany and wintered in Rome. Most of the previously listed names may mean nothing to you, but over this (1818-1882), one woman’s career, she was a sought after colleague of of Germany’s Pyotr (Peter) Ilych Tchaikovsky (1840-1893), Theodor Kullak greatest piano (1833-1897), Clara Schumann instructors. There (1819-1896), Ignacy Jan Paderewski (1860-1941), and were 1100 students spread among 100 instructors in Sergei Rachmaninoff (1873-1943), as well as Americans Kullak’s Neue Akademie der Tonkunst in 1868. Theodore Thomas (1835-1905), Walter Damrosch However, it was Kullak himself who undertook the 3 News From VHSource, LLC Vol 6 June 2013 instruction of the seven year old Adele. It was also and cover their music expenses, room, board and Kullak who arranged for Adele’s solo debut with full travel to Weimar and Rome and back. Therefore the orchestra in Berlin when she was 10, playing Beethoven’s family provided the expenses for two girls living away Piano Concerto No. 2 in B-flat. She remained under his from home much of the year during this period. tutelage until she was 12 at which point Kullak introduced her to . After hearing the child Adele’s world would not have included any real play, Liszt immediately invited her to join him in Weimar hardship until 1880 when her father suddenly passed as a student. NOTE: For those of you unfamiliar with Liszt’s away. While this was emotionally devastating and own performance career, he was Europe’s, and probably the costing some time away from Liszt, there was never world’s, premier from the time in 1832 (age 21) when any thought of stopping Adele’s education. The family he made up his mind to become as great a pianist as Niccolo simply pulled together to cover whatever expenses Paganini (1782-1840) was a violinist, until the height of his were needed to keep Adele and Mathilde with Liszt. In solo career at age 35. Liszt abruptly gave up performing to yet another blow to the family unit, Adele’s mother devote all his time and efforts to composing and teaching – presumably at the urging of Princess Carolyne zu passed away in 1884, leaving only her three siblings to Sayn-Wittgenstein, whom he had met in Russia, and who form an extraordinary bond and support system for convinced him his forte lay in composition. Liszt is a young Adele. The young pianist would miss a another fascinating individual, and you will find many books written portion of the 1884 Liszt classes. However, her about him should these small tidbits engage your interest. siblings saw to it that their little sister was back with the master for the start of 1885 work. A word here for both piano students and enthusiasts None of the siblings ever married or had children. regarding classes with Mathilde would serve as Adele’s chaperone on all Franz Liszt. He gave no traveling adventures from 1873 when the Liszt actual lessons or courses. instruction began until August 20, 1906 when she He was in fact the inventor suddenly and unexpectedly passed away from heart of the master class. All disease in New York City. Adele abruptly took her students simply arrived in sister’s body home to Berlin and never returned. the morning with their However, during the twenty years they spent in scores and placed them on America (1886-1906), the ladies regularly journeyed the piano open to the piece back to Berlin for the summer months until moving to they wished to present that the United States permanently from 1901 to 1906. day. Liszt would then Almost every day was spent in rehearsing (4-5 hrs), arrive and look through the performing, or traveling to a performance. scores until he found one Liszt circa early 1880s he wanted to hear. The With regard to travel during the 19th century, there owner of the score stepped forward and presented his were the following modes of transportation open to day’s offering and the discussions began. Yes, every any one moving around America: horse, horse and student was heard everyday. Liszt was always totally buggy, ship, stage coach, and train (we have chosen to honest, which resulted in his students having good days omit the bicycle). None of these modes was the least or bad. If one thinks of being a fly on the wall on any one bit “speedy.” Horses were a bit out of the question for of those days and understands that Liszt took only those two women who were always dressed impeccably and students he was interested in developing, those classes needed to carry with them formal clothing for the must have been marvelous ventures in music making. concert hall on every trip. Horse and buggy were adequate for short trips but certainly not lengthy ones. Thus, from age 7 to 21 Adele led an idyllic life with a Ships were wonderful solutions for coastal travel, but supportive family and wonderful teachers. Her sister going into the interior of the country demanded train Mathilde was chosen to accompany Adele when she and stage coach travel. The average train in either moved to Weimar and Rome to study with Liszt. While America or Europe traveled, at its swiftest, roughly 15 Liszt himself charged no fees, students did have to find miles per hour. However, if one were to take a more 4 News From VHSource, LLC Vol 6 June 2013 realistic average, the speed would be closer to 10 to 12 and her cellist husband Victor Herbert arrived on the miles per hour. Saale, might well have simply overlooked the totally unknown young female pianist coming to America for LaWayne Leon in his new book, The Untold Story of the first time in the company of her sister. She did Adele aus der Ohe, From a Liszt Student to a Virtuoso, arrive with an invitation to perform in America, but paints an amazing picture of Adele and Matilde’s travels again author Leon is unclear as to exactly who from January 1893 to June 1894. During that year and a extended that offer. You now have learned that her half, the two women went from Berlin to New York City debut was with Anton Seidl in Steinway Hall on to San Francisco to New York City to Berlin to Saint December 23rd and, most likely, Victor Herbert was Petersberg, Russia to Berlin to New York to Chicago to playing in the cello section that evening. We find it New York to Berlin! Traveling approximately 25,000 interesting that neither Herbert biographer Waters nor miles, Adele gave concerts almost constantly along the Leon made the connection between the arrivals of way. Their transportation was by train, stage coach and these musical giants who were to dominate the ship. The trip by ship between Europe and America took musical landscape of America for the rest of the 10 days in good weather every time it occurred. It boggles century. We surmise that it is because biographers are the mind to think that these two women made these kinds extremely fixated on their own individuals, whereas of journeys – by themselves, properly attired in hats and we at VHSource have a particularly good time gloves with concert clothes in tow in large trunks – in discovering those personal connections which no one every one of their 20 years in America. As we have else appears to have made. stated, they did stop returning to Berlin from 1901 to 1906. Author Leon also points out that the Fräuleins aus der Ohe checked into the Belvedere House on 4th Avenue Speaking of traveling by ship, on that very first trip to and 18th Street, and it became her normal residence America, the good ship Saale, bearing Herbert and his whenever she was in New York. During the exact new wife, sailed from Bremen on October 13, 1886; same time frame, perhaps even the same day, Victor arrived in Southhampton, England on 14th; arrived in Herbert and Frau Herbert-Förster checked into the Cherbourg, France on the 15th; and arrived in New York same hotel according to Herbert biographer Waters. City on October 24th. The Statue of Liberty was It would seem impossible that these newly arrived dedicated on October 28, 1886. While biographer Leon German musicians did not meet in the dinning room or discusses aus der Ohe’s arrival in America, he does not lobby of this fine hotel. That connection alone would name the ship she arrived on. He does point out that she have bonded those far from home into very agreeable arrived just a few new relationships, and presumably, Frau Herbert- days before the Förster would have been in attendance with Matilde dedication of the that evening of the 23rd of December since both ladies Statue of Liberty had family members performing. on October 28th. One wonders just Space does not permit great details of the performing how many ships career of aus der Ohe, but we can try to highlight arrived from those experiences that connected aus der Ohe with the Bremen during that famous people we have already listed. Aus der Ohe’s week. Those who name can be found frequently soloing with Theodore reported that Thomas as well as Anton Seidl and Walter Anton Seidl and Damrosch. She toured with Emma Juch’s Party his soprano wife, Concert in the Fall of 1888. Victor Herbert was Auguste Seidle- music director for this group (see this month’s article Kraus and the new “Herbert the Chamber Musician”). Metropolitan Ocean Liner Saale soprano Therese A quick scan of the programs offered during the brand new on August 18, 1886 Herbert-Förster Pittsburgh Music Festival of May 21-24, 1889, 5 News From VHSource, LLC Vol 6 June 2013 created by conductor Anton Seidl, reveals the following join the Boston Festival Orchestra, conducted by soloists: cellist Victor Herbert, mezzo Therese Herbert when it arrived in Baltimore. What an Herbert-Förster, soprano Lilli Lehmann, soprano Emma amazing plum for the young Herbert and his Boston Juch, tenor Giuseppe Campanari, pianist Adele aus der Festival Orchestra to be chosen as the vehicle to Ohe and violinist Max Bendix. introduce the great Russian composer and conductor to the East coast. Perusing the programs of the Worcester Festival Orchestra , held during the Fall of 1889, we find Herbert Last month (see Vol 5 May 2013) we learned it was as the associate conductor and the soloists for that season: not entirely smooth sailing, but the composer was oboe M. Sautet, flute E. Heindel, organ Frank Taft, piano definitely kept very happy with the addition of his Adele aus der Ohe, violin Franz Kneisel (Concert favorite pianist, Fräulein aus der Ohe. The tour Master of the Boston Symphony); and cello Victor concerts occurred between May 15 through the 18, Herbert. allowing Tchaikovsky to visit and conduct in Philadelphia, Baltimore, and Washington DC. Perhaps one of Adele aus der Ohe’s crowning highlights was the invitation by Walter Damrosch to join his New Tchaikovsky York Symphony Society and Tchaikovsky himself to would again play Tchaikovsky’s Concerto for piano and orchestra in request her B-flat minor during the opening concert on May 1, 1891 presence as in the brand new Music Hall built by Andrew Carnegie his soloist on specifically for Damrosch and his orchestra. This s e v e r a l outstanding edifice would be renamed Carnegie Hall in occasions in 1893, and still sits regally on the corner of 7th Avenue and R u s s i a 57th Street in New York City. It’s stunning to think that including the its first ever soloist was in fact the subject of this article. playing of his P i a n o NOTE: It’s also stunning that Theodore Thomas had been Concerto in asking for an orchestral hall to be built in New York City for B-flat in the three full decades. No sooner had he left his city for Chicago same concert and its brand new Chicago Orchestra in 1890, when w h i c h Peter Ilyich Tchaikovsky construction began on the new Music Hall. It was finished the featured the same year the Chicago Orchestra began their concerts. debut of his Sixth Symphony, the Pathétique, in Saint Common sense demands that Theodore Thomas was NOT a lover of even the idea of the Music Hall, and we find that in fact Petersberg on October 28, 1893, just nine days before he and his Chicago Orchestra only graced Carnegie Hall’s he passed away at age 53. stage once on March 7, 1898 as an extra concert honoring French organist/composer M. Alexandre Guillmant (1837- To paint a more complete image of this amazing 1911) and composer M. Raoul Pugno (1852-1914). career, we need to hit a few more highlights. Adele aus der Ohe was also an accomplished composer with You may remember the large discussion last month of the more than 40 works published exclusively by Boston Festival Orchestra of 1891 with Victor Herbert American publisher G. Schirmer as conductor. This was the tour we spoke of last month before 1901, and after 1901, by Ries & Erler in on which Peter Ilyich Tchaikovsky joined them in Germany Baltimore and Philadelphia (May 15 and 18) to conduct his own works. You have now learned that Tchaikovsky Her standard repertoire from which she could pull a was in America solely for the purpose of participating in recital at the drop of a hat included the works of: aus the opening discussed above. It had been a stunning der Ohe (8), Bach (5), Beethoven (10), Brahms (2), night all the way around, and the composer was desirous Chopin (19), Liszt (20), Mendelssohn (5), of seeing a bit more of America before returning to Rubinstein, Anton (4), Schubert (5), Schumann (4), Russia. It was suggested by Damrosch that the composer Tausig (4), Tchaikovsky (4), as well as 28 other 6 News From VHSource, LLC Vol 6 June 2013 composers ranging from Franck to Mozart to Raff to after she returned permanently to Berlin, she became Vogrich to Wagner. NOTE: Numbers in parentheses the same sort of piano teacher that Liszt had been; 7) indicate number of prepared individual works. Given all these residing in Berlin, she managed to survive World War “ready at the finger tips” works, it should also be noted that I and the ravages of the Great Inflation disaster that she was named by the European magazine The Monthly followed; and 8) in her later years as arthritis and poor Musical Record while in her early 20s, before she ever came health took her piano playing abilities, and German to America, as the only first class pianist they had ever financial failure after WWI left her destitute, Adele witnessed who played not only her own large repertoire of solo pieces, but also the most complicated ensemble music (chamber aus der Ohe was partially supported by Sergei music) – classical and modern – without book. Rachmaninoff through generous financial gifts every two years, given in celebration of the memory of her While in New York City, she routinely performed recitals abilities and gifts to the recital world. – often entirely solo – in the following halls: Chickering Hall (1,450 seats) on 5th Avenue at 18th Street; Steinway The end would come on December 8, 1937. Adele aus Hall (2,500 seats) at 73 East 14th Street; Mendelssohn der Ohe was 76 years old. Her career was made in America, even though she spent 56 years of her life in Hall (1,100 seats) on 40th Street east of Broadway; and Germany. One can’t help but feel regret that Adele did the Metropolitan Opera House (3,500 seats) on not return to America after her last sibling died in Broadway between 39th and 40th Street. Following her 1910. She could have continued concertizing, been in stunning debut in 1886, she never failed to fill any of a country which was not devastated by war and been these halls. Said The New York Sun after a January 1889 revered as the grand dame of the piano. The outcome recital: of her final days might have been quite different. It is always a formidable undertaking to entertain a hall full of people for two hours We are so happy to have stumbled upon this amazing with a piano ... It is therefore highly to the virtuoso and game changer. Should you find yourself credit of Miss Adele aus der Ohe that she as intrigued by this woman as we were, you can easily retained a very large audience in Steinway pick up the wonderful new book we have been hall last evening to the last note of her referring to throughout this article on amazon.com. programme ... Simply look for Leno, LaWayne, The Untold Story of Adele aus der Ohe, From a Liszt Student to a NOTE: It was her master teacher Franz Liszt who invented the Virtuoso, Beaver’s Pond Press, 2012. solo recital during his own stunning performance career. Next up in our examination of American Game Finally, several other highlights included: 1) she Changers is Oscar Hammerstein I, builder of perfect performed with the Boston Symphony 51 times; 2) she theatres/opera houses and the opera impresario who was a featured soloist for Theodore Thomas’ brand new almost took down the mighty Metropolitan Opera Chicago Orchestra (1891) during its first season; 3) she Company in 1909. was a featured soloist during Victor Herbert’s first season with the Pittsburgh Spotlight On . . . Orchestra (1898); 4) she performed her signature Herbert the Chamber Musician concerto, the Liszt E-Flat in the first season of the ast month we examined Victor Herbert’s Minneapolis Symphony activities as a cello soloist with various (1903); 5) she was the Lorchestras, the orchestras he played with and featured artist for the first the beginnings of his conducting career. The time concert of the Schubert period being explored is only from October 24, 1886, Club of St. Paul, the day the good ship Saale landed in New York City Minnesota’s International until Sunday, November 26, 1893 or more Artists Series (1893); 6) specifically, the first concert of Gilmore’s Band Sergei Rachmaninoff 7 News From VHSource, LLC Vol 6 June 2013

(1858-1899) with Victor Herbert on the podium as its Of course, nowhere, other than these pages, is such a new permanent conductor. This will therefore be our possibility actually written in ink, but again our second sweep through the same six year period as we “common sense” and company dynamics experience examine Victor Herbert, the Chamber Music cellist. We knows that it was, and is today, a very viable will actually move once more through the same period in explanation when a brilliant star suddenly elects to the July newsletter when we examine the works disappear rather than “fight city hall.” All this is not composed by Herbert during this same time frame. to say that Frau Herbert-Förster never sang again. She found a home with a small German resident company To say Herbert was a busy musician, is certainly an in the Thalia Theatre located at 46 Bowery during understatement. Most musicians would have been quite the 1887-1888 season. Again, the press could not happy with any one of these beginning careers: solo have written more glowing reviews for Frau Herbert- performance, orchestra membership, conducting, chamber Förster. The singer performed Leonora in Verdi’s work, or composing. True to his later self, Herbert hit the Der Troubadour and Valentin in Meyerbeer’s De ground running in America, especially after it began clear Hugenotten. Anton Seidel also recognized Frau that his wife was not to have the long storied career with Herbert-Förster’s value (both vocally and in keeping the Metropolitan Opera Company that they both had his favorite cellist around) and frequently, during this expected. Because so many questions from so many of six year period, hired her as a soloist for both his you on exactly what happened with Frau Therese ’s Brighton Beach Summer Concerts as well as the Herbert-Förster and the Met, let’s take the time to look at Pittsburgh Music Festival of 1889. the relationship between the lady and the opera company. This is about as good an Therese and Victor came to America for the simple explanation of what reason that she had been hired to sing major roles with happened to the brilliant the Met and sing them she did! Frau Herbert-Förster career of Frau Herbert- earned rave reviews for the Queen in the Goldmark’s Die Förster as you may find. Königin von Saba (the Queen of Sheba); Aida in Keep in mind that if the Verdi’s Aida (an American premiere but sung in German wife did not remain with as was the custom of the time); Elsa in Wagner’s the Met beyond a very Lohengrin; substituting for Lilli Lehmann, Irene in minor involvement in Wagner’s Rienzi; and finally Elizabeth in Wagner’s the 1887-1888 season, Tannhäuser. The young, blond, blue-eyed soprano took then the loyal husband New York City and the Met by storm. She received certainly would not have stellar reviews, all of which lauded the lushness and played in the Met Opera beauty of her voice, her physicality and her acting. Orchestra after their Several went so far as to celebrate the fact that she had i n i t ial 1 8 8 6 -1 8 8 7 replaced a previous Met singer of the same role. Therein, season. Anton Seidl, most likely, lay the reason why Frau Herbert-Förster only who shared conducting sang one role - that of Elsa in Lohengrin, during her duties with Walter second Met season. The politics of an opera company can Damrosch at the Met, was Herbert primary be wicked. The existing ladies may have closed ranks in Therese Herbert-Förster support of those one or two slighted by Frau Herbert- mentor (as was courtesy of Library of Congress Förster’s fine reviews and proceeded to silently make the Damrosch to a lesser young newcomer’s life within the company less than a degree) and would have exerted a strong influence happy endeavor. Such an action could easily have caused over the young cellist by 1) hiring him as a soloist the elegant European newcomer to rethink her desire to outside of the Met operatic gigs, and 2) continuing to remain with the company. Ponder going to work everyday offer the talented young assistant conducting jobs and and trying to function in discreet silence except when space in all cello sections for all Seidl’s non-operatic rehearsing. concertizing. (See Vol 5 May 2013) 8 News From VHSource, LLC Vol 6 June 2013

However, the loss of what was most likely a substantial which the orchestra could play the music. Boewig always source of income for Therese , would have sent Herbert signed H. Boewig and the date in tiny letters under the last seeking new streams of steady income. One possibility measure of a set of scores and parts he created. would have been Chamber Music. Such ensembles consist of various small groupings of instrumentalists, all The one person we have not been able to find much of whom must be virtuosos by themselves, and yet, information about is the violist, Schenck. The fact that capable of melding their sounds into a sonorous whole for he had to have been a very strong player is proven by the betterment of the ensemble. To a certain extent it is his very inclusion in the New York String Quartet, probably one of the most difficult and yet satisfying roles but, to date, we have found no year span of his life nor an individual musician can undertake. Check out The any accomplishments or mention other than this Late Quartet (2012 movie, starring Philip Seymour ensemble. Hoffman and Christopher Walken) The repertoire of the New York String Quartet By the 1887-1888 season, included: Grieg’s String Quartet in G minor and Herbert had joined the New Rubinstein’s Piano Quartet, Op. 66 (w/pianist Max York String Quartet as a Vogrich); Haydn’s String Quartet, Op. 64, No. 5; founding member along with Mendelssohn’s String Quintet, Op. 87 (with violinist Violin I - Sam Franko Nathan Franko - Sam’s brother); Rubinstein’s Piano (1857- 1937), violin II - Quartet, Op. 66; and Schumann’s String Quartet, Op. Henry Boewig, and viola - 41, No. 1. Ludwig Schenk. This particular string quartet was The group’s concerts were usually in Steinway Hall, one of New York’s first truly continued for several years and were always free to major chamber ensembles the public. Such offerings definitely kept one’s name with stellar members. in front of the public, sharpened one’s listening skills, Franko had just moved to and honed the ensemble skills of each player. Also New York, having been a each concert itself allowed for networking and member of the Boston introductions to new soloists – usually and vocalists. The public was still relatively new to Herbert & His Cello S y m p h o n y f o r approximately six weeks chamber music at this point in our history and, under conductor Wilhelm Gericke (1845-1925). therefore, not really ready (as are many today) for a concert of nothing but string quartet music. Therefore, Franko claimed to have left the Boston Symphony the ensemble was always adding solos and duets such because of “boredom,” and his disdain for Gericke’s as Goldmark’s Suite for cello and piano, Op. 11 rehearsal techniques and programming was apparently (Herbert w/pianist Rafael Joseffy) and Rubinstein’s shared by Herbert who often referred to the Boston group Sonata for cello and piano, Op. 18 (Herbert w/pianist as the “Viennese Ladies’ Orchestra.” [Franko, Sam, Chords Conrad Ansorge) as well as looking for additional and Dischords (New York, 1938), p.87] You may also artists who could bring variety to each concert. remember from the previous article in this newsletter that Adele aus der Ohe had a very fine relationship with this A truly unique ensemble of this period was the “Viennese Ladies’ Orchestra.” Concert Party. As remains the case today, being a concert/recital singer was no guarantee of a steady Violinist Henry Boewig would remain not only close income. To combat downtime and increase one’s friends with Herbert, but would also do a major amount financial flow, singers often put together what was of copyist work for him. Boewig would gain a reputation termed a Concert Party. Herbert biographer Waters over the years as one of the most beautiful copyist in the defines this event: “Musicians of divers talents would New York City. NOTE: Copyist is simply the title of a person band together, tour the inland cities and towns, and who would take the handwritten scores of a composer, and present programs of astonishing variety – often in create easy to read, clean (also handwritten) copies of the society’s homes, hence the name Concert Party ...” Of scores for the conductor and the parts for the orchestra from course, not all concert parties were created equal. 9 News From VHSource, LLC Vol 6 June 2013

The finest of these tour that Juch elected to form her own opera company ensembles was definitely which toured America and Mexico. Thus, the Juch the Emma Juch Concert Concert Party resulted in only one major tour. Party. While only 25 years old, Juch was an In fall of 1888 Herbert’s attention turned to a new Austrian soprano who had form of chamber ensemble – the “trio,” featuring a been an opera diva in violin, piano and cello. Herbert joined with violinist England and with the Max Bendix (1866-1945) and pianist Rinhold L. Academy of Music Opera Herman to form the Metropolitan Trio Club. This Company for seven years. group gave its first concert in Steinway Hall on The Metropolitan had tried December 13, 1888. The concert consisted of two trio in vain to hire her. She was works, one by the Swiss-German pianist/composer also the first singer hired by Joachim Raff (1822-1882) and one by the French Theodore Thomas for the violinist/composer Benjamin Louis Paul Godard American Opera Emma Juch (1849-1895). NOTE: Herbert was a great champion of Company in 1886. While Raff’s compositions for cello. Joining the trio was deciding what to do after the demise of that company in contralto Emily Winant singing French and German the Spring of 1888, she elected to surround herself with songs. This singer was a highly esteemed Church pianist Adele aus der Ohe, contralto Rosa Linde, tenor soloist for many years in New York City. The only W.J. Lavin, and bass Clemente Bologna and go on the real critical comment of the subsequent reviews was road with a Concert Party. Juch then hired Victor that the piano needed to tone down to blend with the Herbert to be her music director, probably on the violin and cello. It’s very interesting that Herbert recommendation of Theodore Thomas. never included his wife in any of these chamber concerts. While it’s impossible to do anything except The company presented a wide variety of vocal and surmise – he might well have considered her operatic instrumental music, especially when visiting a town large voice too large for such an endeavor. While known to enough to have its own orchestra. The final offering of have a lovely voice, Emily Winant was definitely not each “party” was always an operatic scene (usually the known for power. 2nd act of Gounod’s Faust) with the singers donning the proper costumes. Herbert’s responsibilities included: Not long after this concert, Herbert made the cover of conducting, coaching, cello solos, and accompanying the the Musical Courier along with an article containing singers, particularly Miss Juch. All which answers the the following: question as to “how well” Herbert played the piano. The entire company never failed to receive rave local reviews His compositions … all show a refined taste, wherever they went. abundant melodic invention and great skill in the handling of the orchestra. As a violoncellist Mr. Aus der Ohe played Chopin, Mendelssohn, Schumann Herbert ranks with the foremost alive, his cantabile being superb and his technic most and Liszt. Herbert had any number of virtuoso cello facile. He is the prince of good fellows, a most works which never ceased to amaze and delight audiences genial friend and companion, and is one of the – particularly a “Cello Fantasy” by Adrien-François most popular of our metropolitan musicians. Servais (1807-1866). It is safe to say that there was [December 26, 1888, p.468] never a Concert Party quite like the Emma Juch version. That particular October 1888 tour began in Milwaukee Interestingly, Therese Herbert-Förster had appeared and moved through Duluth, Dubuque, Des Moines, on the cover of the same magazine during her first Kansas City, Cincinnati, Atchison (KA), St. Joseph (MO) season at the Metropolitan Opera Company. If, in fact, to name but a few, primarily covering the Mid-West and there was ever any rivalry between husband and wife, Plains States. Local towns and society families were they would have now been equal. They were in absolutely thrilled to have such talent in their small America but two years, and both were represented on theatres and drawing rooms. It was not long after this covers of a major music trade (professional)magazine. 10 News From VHSource, LLC Vol 6 June 2013

The National Conservatory of Music of America Hall (aka Carnegie hall). The quartet consisted of founded by Mrs. Jeannette Thurber (1851-1946) in violin I - Louis Schmidt, Jr.; violin II - Henry 1885, was big news in music education in the late 1880s. Schmidt; viola - Franz Kaltenborn; and cello - Famous faculty included: Theodore Thomas, Anton Victor Herbert. The program included: Schumann’s Dvorak (director 1891-1895), Rafael Joseffy, and Victor Quartet in A minor, Op. 41 No. 1; Raff’s Die schone Herbert. It was through this institution that Herbert and Müllerin, Op. 192 (two movements – Declaration and Dvorak became friends, even living very near each other the Mill); Boccherini’s Cello Sonata in A; and on 18th street in Manhattan. Critic James G. Huneker Rubinstein’s Quartet in F, Op. 17, No. 3. also served as a teacher as well as Mrs. Thurber’s secretary. The school was patterned after the Paris By 1891chamber music had gained a solid foothold in Conservatoire and began with 84 students, operating out New York City. When the group opened their third of two converted homes at 126-128 East Seventeenth season in 1893, they did so the same week that at least street in New York City. The aim of this institution was three other chamber ensembles played concerts. The to become the national music instruction center of Schmidt-Herbert Quartet lasted longer than the other America. Congress actually incorporated the school on earlier Herbert ensembles and kept a large important March 3, 1891 as a Federal institution with the power to repetoire in front of their New York audiences. legally confer the degree of Doctor of Music. Their 1892 season offered three concerts from January Upon joining the faculty, Herbert quickly formed the to March: National Conservatory Trio Club which gave its first concert on January 16, 1890 at the Berkeley Lyceum on January 8: Haydn, Quartet in D, Op. 20, No. 4; 44th Street near 5th Avenue. It was an ensemble created to Bach, Chaconne (violin); Chopin, Prelude in B show off the faculty of the school. The trio consisted of minor; B. Scholz, Minuet, from Quartet in G; pianist Adele Margulies, violinist Leopold Lichtenberg Bazzini, Quartet in D minor, Op.75. and cellist Victor Herbert. This ensemble was primarily February 11: Beethoven, Quartet in E flat, Op. 74; an ambassador for the school and did not do much touring Herbert, Legend and Scherzo (cello); Tchaikovsky, in the beginning. Fascinatingly, Margulies (again one of Andante Cantabile from Quartet, Op. 11; Grieg, those pesky women) eventually assumed leadership of the Quartet in G minor, Op. 27. trio, changing its name to the Margulies Trio. Herbert eventually became too busy and was replaced by Leo March 16: Schubert, Quartet in A minor, Op. 29; Schulz. This trio continued concertizing until 1918. Chopin, Nocturne, and Brahms – Joachim, Hungarian Dance (violin); Mozart, Andante from 1890 was also the same year that Herbert began serving Quartet in D; L. Schmidt, Jr., Scherzo Tarantelle; Beethoven, Quartet in F minor, Op. 95. as assistant conductor to Thomas. The first program giving the young conductor such a credit was distributed By 1893, the Schmidt-Herbert quartet had become a for a Thomas Orchestra concert on January 2, 1890 at the regular New York fixture and enjoyed their best Lenox Lyceum on Madison Avenue, between season presenting: Fifty-eighth and Fifty-ninth Streets.

January 13: Haydn’s D major Quartet, Op. 64, No. 5 By 1891 the cellist was and Beethoven’s Quartet in F major, Op. 59, No. 1. involved with a much more important chamber February 10: Mozart’s C major Quartet and ensemble – the Schubert’s Quartet on Death and the Maiden. Schmidt-Herbert String Quartet. This group March 24: Schubert’s Quartettsatz in C minor; gave its first concert on Haydn’s variations from the Kaiserquartett and December 9, 1891, in the Beethoven’s Quartet in A minor, Op. 132. Chamber Music Room of The Music Hall 1891 the brand new Music We have chosen to give you a glimpse into Herbert’s aka Carnegie 1893 chamber music repertoire simply because this was a 11 News From VHSource, LLC Vol 6 June 2013 serious musician who played some of the most difficult the three men, the magazine classical music ever written and did it with such made it appear that it was virtuosity that he was quickly becoming one of the most the three men doing the important cellist in America rivaled only by Boston accusing. When the three Symphony’s Joseph Giese (1821-1903). realized what the Musical Courier was implying, the Chamber Music was hardly even on the radar when musicians wrote their own Victor Herbert began co-founding these various groups letter to the Musical and now by 1892, the New York Tribune had this to say: Courier editor, explaining that the staff member was The presence in New York of the Schmidt-Herbert critic James G. Hunecker String Quartet had materially strengthened the weakest (1857-1921) who had aspect of the city’s musical life; the artists revealed enlisted their assistance, J. G. Hunecker high aims and lofty standards, fine taste and unfailing and that they had definitely intelligence; they knew how to imbue the Bazzini work both NOT written the anonymous letter nor been with color and vitality, while Haydn received “a performance of beautiful fluency and refinement, one, aware originally of anything amiss. The men did admit in fact, that quite caught the simple and gracious spirit that the work looked suspicious if one laid the two of the composition; the entire concert was scores in question side by side. characterized by much smoothness and a noteworthy unanimity of feeling. The ramifications of this incident were huge in many ways: 1) first and foremost a reputable musician, Max Chamber Music had come a long way in America in a Spicker, was accused publicly of plagiarizing without relatively short amount of time, thanks in large part to any opportunity to defend himself; (2) there was a Herbert the instrumentalist. strong public implication of the three Phil musicians instigating the accusation; and (3) the three musicians Before we leave this aspect of Herbert’s life, there is one pointed all this out publicly within the very pages of last happening in 1892 which should be discussed. Keep the Musical Courier – thus throwing responsibility for in mind that the Musical Courier had fallen all over both any misconception back onto the magazine. Victor Herbert and his lovely soprano wife from the time they arrived in October of 1886 until 1892. Suddenly The magazine could not have been happy with this what looked like a relatively minor event would begin turn of events. Instead of being the heroic champion turning the magazine against Herbert. of truth (Veritas), they ended up looking a bit like the bad guys. Editor and publisher Marc A. Blumenberg An anonymous undated letter arrived at the Musical did not appreciate being called out on the magazine’s Courier offices in New York City accusing German mishandling of the affair, especially publicly. The American composer/arranger Max Spicker (1858-1912) biggest name involved was definitely Herbert. Other of copying a Muller-Berghaus orchestration of Chopin’s incidents would soon materialize, and the growing A flat Polonaise, passing it off as his own new version animosity between Herbert and the Musical Courier and giving it to Anton Seidl for use with the New York would culminate in a full blown libel lawsuit filed by Philharmonic Society. The letter was signed “Veritas.” Herbert against the magazine in 1901, which he won. This was a serious accusation as Spicker was a well (see Vol 4 April 2010, pg 80 in Foundations for a full respected composer and editor for G. Schirmer. Instead discussion of this lawsuit). of asking Spicker directly, the magazine took a different path. There is one last subject to touch on before we leave Herbert, the pure musician, and return to his The Musical Courier published not only the letter but a instrumental composing life. Remember we have statement that they had sent one of their staff members stated that we have never found any proof that Victor to look at the accused new version of the Chopin work in Herbert was the principal cellist of any organization. the presence of Philharmonic orchestral members Henry Such a position carried great responsibility and needed Schmidt, John Rietzel and Victor Herbert. By naming a concentrated focus and loyalty to a particular 12 News From VHSource, LLC Vol 6 June 2013 orchestra. Herbert was far too busy building a Herbert the performer came first. However, Herbert conducting career, a solo career and a chamber music the conductor and Herbert the composer began to career to want that sort of responsibility. On the other elbow the performer aside within a few short months hand, whenever he was an assistant or an associate of arriving in America. Next month we return to conductor, there was no doubt that he was in the cello examining Herbert’s instrumental composing and section when not conducting – which leads us to his promise to introduce you to the Irish Rhapsody. participation in the New York Philharmonic Society.

When Herbert arrived in America, Theodore Thomas was Last Call for that the conductor of the New York Philharmonic Society as Graduation Present well as the Thomas Orchestra (his touring organization) and the Brooklyn Philharmonic Society. Herbert ou may well be still looking for that perfect definitely both soloed with and played in all three GRADUATION present. If so, Shop organizations. Thomas left New York to found the YVHSource has the perfect gift this season. Not Chicago Orchestra in 1890, and we’ve never seen any only is it truly unique, but it keeps on giving over and indication that Thomas invited Herbert to go with him to over. You might even want to consider the Chicago (as he did roughly 35 other New York downloadable version for yourself. musicians) or that Herbert turned him down. Given the fact that Herbert had just moved to America with his wife Shop VHSource suggests the $29.99 thumb drive and the many opportunities available to the couple in version of the new VHSource research E-BOOK New York City, it would have been doubtful that the entitled Foundations, Exploring the American Herberts would have moved again. World of Entertainment, 1830 to 1930. You will see this book referenced every once in a while in these Anton Seidl (Herbert’s pages. The ebook gives you in-depth examinations of primary mentor) was every Herbert operetta from Prince Ananias in 1894 appointed conductor of to The Dream Girl in 1924 as well as a closer look at t h e N e w Y o r k Victor Herbert's peers and the foundations of the Philharmonic Society American World of Entertainment from 1830 to 1930. to replace Thomas. It’s a great research resource and a 4G storage drive According to Waters, all rolled into one great tool. office records show that Herbert played with the Order today! We’ll invoice you and ship it out the orchestra for eleven same day. Let us know if we need to rush it. Again, it consecutive seasons is available for immediate download should you like from 1887 through one for yourself. However, it’s far better to have a 1898 when he left the nice box to gift wrap and hand to your Graduate as city to conduct the you shake his/her hand in heartiest congratulations! Pittsburgh Orchestra. Anton Seidl The cellist was proposed for membership on November 27, 1889, and it Continuing events would seem impossible that the membership would have rejected him. However, Henry E. Krehbiel’s history of February 24th through Aug. 17, 2013, you can find the Philharmonic – possibly in error – does not list The Library of Congress and its Music Division’s Herbert’s name as a performing member any earlier than presentation – “The Musical Worlds of Victor 1892. It is clear that Herbert’s performing participation Herbert,” a free exhibit which is open to the public, with the Society began in 1887 and the total relationship 8:30 a.m. to 4:30 p.m., Monday through Saturday in culminated in 1906 when he came very close to being the Walt Disney Concert Hall in Los Angeles, chosen its conductor. (See Vol 10 October 2010, pg 124 California. in Foundations for a full discussion of this relationship.) 13 News From VHSource, LLC Vol 6 June 2013 Recent Herbert Productions June Performances

Well Received June 6*, 7, 8, 14 & 15, 2013 at 8pm; June 9 & 16, 2013 at 2pm, The Victorian Lyric Opera Company, Last month we will present Victor Herbert’s The Red Mill with full mentioned the orchestra at the F. Scott Fitzgerald Theatre, 603 Troupers Light Edmonston Drive, Rockville, MD. Tickets: Adults Opera, Inc., Darien, $24, Seniors $20, Students $16 can be purchased on- Connecticut and line. *Indicates a preview performance. their production of Herbert’s The Red Mill. At the time we Upcoming Performances did not have any pictures or reviews. Saturday, July 27, 2013 at 8pm and Sunday, July Nathan Brian (Kid Conner), Jamie We rectify that short 28th at 2pm, the Lyric Theatre of San Jose (CA) will Caporizo (Tina) and Stephen Faulk (Con Kidder) coming this month. present rare performances of Herbert’s 1899 Cyrano Check out the de Bergerac utilizing the Victor Herbert wonderful review the organization received written by Renaissance Project’s libretto along with newly Jerome Sehulster for the Stanford Advocate. (Pix) restored scores and orchestra parts by WVD Press. Performances will be at the Santa Clara University The Light Opera of New York’s 100th Anniversary Recital Hall, Santa Clara University Campus, 500 El production of Herbert’s Sweethearts garned two excellent Camino Real, Santa Clara, CA 95053. Join us pre- reviews with its May 6th and 7th performances. The move performance for a discussion of Herbert and Cyrano to the Leonard Nimoy Thalia Theatre at Symphony de Bergerac. This VHRP production will be ready for Space (95th and Broadway) proved a sound one with room rental after this performance. to grow next year should the company choose to return. Check out Harry Forbes’ Review of May 11, 2013 and December 7 and 8, 2013, Chicago Folks Operetta James Cooper’s Review of May 7, 2013. Leads Olga will present Victor Herbert’s Babes In Toyland at the Xanthopoulou (Sylvia), Peter Kendall Clark (Franz), 19th Century Club in Oak Park, Illinois. You will Eapen Leubner (Lt. Karl) and Stephanie Izzo (Liane) soon be able to purchase your tickets on-line ($30, led a sterling cast of great voices. It’s always amazing $35, $40) – watch this site for availability. what a wonderful sound a chorus of eight really fine voices is able to bring forth. Bravo to the entire cast and As always, if you know of a production near you that staff. The VHRP libretto was well received by both the we do not have in our calendar of upcoming events, cast and audiences. It’s now available for rental under please send us the information at VH Licensing. [email protected] as soon as possible. Alyce's Musings . . .

ummer has arrived! It’s 90 degrees here in New York SCity with no relief in sight until Monday or Tuesday. Herbert projects are humming right along. This past month I finished the new full length Cyrano libretto for the Lyric Theatre of San Jose. The orchestra scores and parts should be winging their way Company of Sweethearts Photo courtesy of William Reynolds out there next week. Just a reminder for any of you 14 News From VHSource, LLC Vol 6 June 2013 living in the San Francisco area near the Santa Clara month we’ll add listings of every single original score University Recital Hall, Santa Clara University Campus, and parts that we are certain has been restored and 500 El Camino Real, Santa Clara, CA 95053, you might give the contact information if VHSource does not want to drop by one of these performances with full represent the restorationist. Please keep be aware that orchestra (see July Performance listing in this newsletter it’s no longer a huge undertaking to program a Victor for dates and times). Not only will I be there, but I’ll be Herbert operetta, and it’s is definitely far less talking about Herbert and Cyrano before every expensive than a Broadway show and all of the work performance. Bring your questions, and I’ll do my best to has been done for and tested before audiences. All the give you some immediate answers. It would be great to information you need is up on the site right now – meet some of you in person finally. sample contract, sample materials, full perusal librettos and sample performance materials. It does Every once in a while I discover a really fascinating fact NOT matter where you are in the world, you will have that pertains to a current article, doesn’t fit without a lot your performance materials within days of completing of reworking of paragraphs but just screams to be shared. your payment. Don’t see the operetta you are The following picture is a perfect example of this interested in? Simply e-mail us at VHSource and ask phenomenon. Look closely. about the work’s availability.

Next month not only will we share Herbert’s instrumental works written from 1886 to 1893, but we will introduce you to his German lieder for soprano and alto ranges which grew out of his association with Emma Juch. Vocal teachers – here’s a chance to give your students German lieder which has probably never been heard by judges and/or auditioners. That will definitely make them very memorable and may well cause them to stand out from the pack. We will have six of these amazing songs available for immediate purchase and download by the next newsletter.

See you next month.

Do you notice a interesting name two down from G. F. Handel? Can you see Max Spicker’s name below T. Teritus Noble. His credit reads “Revised according to Handel’s original score by Max Spicker. It’s about 1 ½ inch below G. F. Handel in this picture. Two places can supply referenced back issues you may like to read: 1) The E-Book section of Shop VHSource has the new If you have read the Chamber Music article, you may be Foundations which will give you all the VHS newsletters from as surprised as I was to note how important Spicker really March 2009 through February 2013. Explore the Herbert operettas from Prince Ananias (1894) to The Dream Girl (1924) in one was. Yes, this is the same fellow accused of plagiarism in searchable source. Or 2) simply login to www.vhsource.com and 1892 by the Musical Courier. If you Google Max choose “Archived Newsletters in the User Menu” for 2013 Spicker, you will find no mention of this incident, and yet newsletters. Reminder: if you are not logged in, you will not see a User Menu or any samples. this was a very serious accusation. One wonders how, if ever, the situation was resolved or if it proved false. All current newsletters are available to registered users of www.vhsource.com. Simply follow the link, create a user name and password and enjoy this newsletter delivered to your inbox Here is another reminder that the new licensing free of charge every month. department at Shop VHSource is open for business. This