11 6 Maart 2016

tijd zijn en Mengelberg Willem

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M Mengelberg in Amerika

Inhoud Van het bestuur en Van de redactie 1 Mengelberg in de Amerikaanse pers 2 Mengelberg i n Amerika (Alg emeen Handelsblad) 21 Winthrop Sargeant Mengelbergs laatste jaren in New York 26 Mengelberg s vertrek in de Amerikaanse pers 31 Concertrecensies Nederlandse muziek in New York 32 Loeffler’s A Pagan Poem bij het Concertgebouworkest 47 Afbeelding voorzijde Carnegie Hall (1891) Inzetten voor en achter Mengelberg op de boot in de haven van New York (George Grantham Bain Collection, Library of C ongress )

Colofon WM is een kwartaaluitgave van de Stichting Willem Mengelberg Society (WMS). Net als zijn voorganger, de Willem Mengelberg Vereniging, wil de WMS wereldwijd zoveel mogelijk men- sen in aanraking brengen met de muzikale nalatenschap van de dirigent Willem Mengelberg. . Redactie Johan Maarsingh , Ronald de Vet

Bestuur Voorzitter Frederik Heemskerk Vice -voorzitter Eveline Nikkels Secretaris Paul Osseweijer Penningmeester Jan Reinoud Lid Frits Zwart

Bestuurssecretariaat [email protected]

Website www.willemmengelberg.nl

Erevoorzitter Riccardo Chailly

Donaties: minimaal € 30 indien u woont binnen Europa, € 35 daarbuiten. Voor dat bedrag ontvangt u viermaal per jaar WM en krijgt u reductie op de entreeprijs van onze bijeenkom- sten. Gaarne overmaking naar NL36 INGB 0006 1486 87 t.n.v. stichting Willem Mengel- berg Society o.v.v. ‘donatie WMS’.

Overname van de redactionele inhoud is alleen toegestaan na schriftelijke toestemming van de redactie. Aanleveren kopij voor WM 117 uiterlijk 15 mei 2016. 29e jaargang, nummer 116. © 2016. ISSN 2213-9036. Van het bestuur Vrienden onder elkaar

Onze voorjaarsbijeenkomst vindt plaats op Pauline de Haan-Manifarges, Tilly Koenen, 14 mei in Pulchri Studio in Den Haag. We Ilona Durigo en Jo Vincent. beginnen on half één met een moment dat Rond half vijf is het officiële gedeelte we weer even met ‘Vrienden onder elkaar’ afgelopen, maar gelukkig leent Pulchri zich zijn. We zullen u dan bijpraten over het goed voor geanimeerd napraten onder het reilen en zeilen van onze Society en onze genot van een afscheidsdrankje. De entree- vooruitzichten. Eén dezer dagen doen we u prijs voor Vrienden is € 12,50 en voor ook weer een Vrienden-adressenlijst toe- introducé’s € 15 p.p. U kunt zich voor de komen. We hopen dat dit soort initiatieven bijeenkomst opgeven door het verschul- de onderlinge samenhang binnen de WMS digde bedrag over te maken naar: ‘stichting verder verstevigt. Laat het ons vooral we- WMS’, IBAN NL36INGB0006148687, ten als u geen prijs stelt op verdere ver- onder vermelding van ‘14 mei’. spreiding van uw (e-mail) adres. Hetzelfde IBAN nr. kunt u trouwens Het officiële programma begint met ook gebruiken voor de overmaking van uw een uiteenzetting van professor Jop Spruit Vriendengift over 2016. Dit voor het geval over de dirigent Henk Spruit. Die naam zal dat het daarvan dit jaar nog niet was geko- de meeste lezers nog bekend voorkomen, men. U stelt ons met uw gift in staat door maar wat weten we verder over hem? Jop te gaan met onze activiteiten. Veel dank bij Spruit, auteur van een medio april te ver- voorbaat! schijnen biografie over zijn vader, schetst Haar veeleisende werkzaamheden heb- het portret van deze ten onrechte in de ben Olga de Kort onlangs genoodzaakt vergetelheid geraakte kunstenaar. haar functie als secretaris van de WMS neer Peter van der Waal geeft na de thee- te leggen. Zij wordt opgevolgd door Paul pauze een presentatie waarbij hij uit zijn Osseweijer, die binnen het bestuur ook de omvangrijke platencollectie unieke opna- zorg voor onze website op zich zal nemen. men zal laten horen van zangers en zange- Wij zeggen Olga hartelijk dank voor de ressen die nog onder Mengelberg optraden. toewijding waarmee zij jarenlang haar taken Bijvoorbeeld: Julia Culp, Jacques Urlus, heeft vervuld. Frederik Heemskerk

Van de redactie Het eerste nummer van dit jaar is geheel Nederlandse componisten die aldaar en aan gewijd aan Amerika. Niet om in te haken Amerikaanse componisten die alhier wer- op de verkiezingen, maar ter ere van Jaap den uitgevoerd. Uit de hoorn des over- van Zweden, die zich zo’n negentig jaar na vloeds van het Willem Mengelbergarchief Mengelberg chefdirigent van de New York van het Nederlands Muziek Instituut/ Philharmonic mag noemen. Wij wensen Haags Gemeentearchief hebben we een vrij hem er een mooie en succesvolle tijd toe. willekeurige greep gedaan. We hopen dat u We besteden ook aandacht aan enkele deze met genoegen zult lezen.

1 Mengelberg in de Amerikaanse pers, 1921–1929

Een bloemlezing uit het Mengelbergarchief van het NMI-HGA

The Christian Science Monitor, Boston, 15 found sluggishness of attack and heaviness januari 1921 of phrasing at his first Carnegie Hall mati- The Conducting of Mengelberg née. And under his style of conducting, this If the group of musicians which Mr. deficiency on the right side of the platform Mengelberg has taken over temporarily could not be compensated for by any from their regular leader, Mr. Bodanzky, amount of alertness and lightness on the could do all he asks of them, doubtless the left. series of concerts he began on January 11 It could be small satisfaction to the au- would be the most brilliant given by any dience, noting the inadequacy of the se- orchestra of this city since the war. And in cond violins in the slow movement, for spite of the present irresponsiveness of the example, of the Berlioz “Fantastic” sym- National Symphony players, the Dutch phony, to reflect that performers in the conductor bids fair to bring back with their rôle of second violin receive less pay than help standards somewhere near equal to those in the rôle of first violin. Assuredly, those which prevailed in the town in for- now that the National Symphony Orches- mer years. An artist possessing powers like tra has a director who conceives the string his scarcely ought to spend his time section as an organism of four separate school-mastering, but should, forsooth, voices, rather than one of a principal voice give it all to interpreting. And yet, if the accompanied by three subsidiary voices, truth were told, perhaps no body of in- enough good violinists ought to be located strumentalists at present assembled in the on the right side to produce the desired United States would exactly meet his re- equipoise. Not often does an orchestral quirements, unless he stayed in the country leader come along who treats the second for an extended period and trained it to violins, and the violas too, as individual suit him. tone forces to be balanced, and as individ- For probably the majority of American ual tone colors to be contrasted, with oth- orchestras show weakness precisely as the ers. But Mr. Mengelberg, according to the youngest of those formed in New York evidence of the concert in question, has an shows it, in the organization of the string inclination for using them that way, exalt- section. Not but that all three of the or- ing them to a higher service than to fill out chestral institutions of New York and the harmony and to strengthen the general those of Philadelphia, Boston, Chicago and sonority. An orchestra, indeed, resolves other cities have plenty of good men, and itself into its every element under his ba- high-salaried men, playing the part of first ton, becoming, instead of a solid unit of violin. But how many such men have they sound, an assemblage of many sounds; the playing the part of second violin? The front number of which, far from being limited of the platform on the right-hand side was by that of the three general choirs of where the visitor from the Concertgebouw strings, woodwinds and brasses, or even by

2 that of the semi-choirs, like the pairs of certain definite melodic material; and no- flutes, oboes and clarinets and the quartet body can justifiably raise objections against of horns, corresponds, one might almost a conductor who, after the fashion of Mr. say, to the whole number of instruments Mengelberg, brings every last bit of that employed. material to the attention of the house. A man who is so nice about detail might be expected to be averse to big cli- max and to be fain to prohibit extraordi- nary loudness in the playing, inasmuch as the usual outcome of a fortissimo is com- plete obliteration of individual voices, semichoirs, and even choirs. But the new National Symphony conductor at frequent moments in his concert, especially in the course of the performance of the Strauss tone-poem, called out the full power of the instruments. He did so, however, without damaging the melodic texture of the com- position in the slightest. A Mengelberg fortissimo, while loud and grandiloquent, is never noisy or boisterous. It is an enlarge- ment of the expression of the orchestra, not a din of players scraping, blowing, and pounding with might and main. Again, a conductor interested in small things might be expected to have a precise and mechanical beat. But again, no. Mr. Mengelberg presented the “Oberon” over- ture with all the freedom and elasticity of rhythm that could be asked for, yet without using a license of tempo that could offend New York Times, 27 januari 1924 (NMI) the most exacting conservatory professor. Which might seem to indicate that the Broadening out a phrase here and making visitor from Amsterdam merely takes the something like an elision of a note there, attitude of analyst and expositor toward his he gave listeners much pleasure and sur- scores and that he could be described as a prise, without defacing in the least the sort of musical botanist and tulip-fancier. traditional outlines of the piece. Both in But no. For in spite of his insistence on the overture and the symphony he dis- detail, no conductor knows better than he closed a larger rhythm of his own, reading how to keep the entire composition in his certain passages as though they were prose mind and how to hold it before his listen- discourse, with the accent on whatever ers’ minds while making a precise reading note happened to suit him, and scanning of it, page by page. After all, the overture other passages in the manner of metrical to “Oberon,” the “Don Juan” tone-poem poetry, with the stress regularly on the first and the “Fantastic” symphony consist of note of every measure.

3 Mr. Mengelberg Tells of a New and Larger Philharmonic

New York Evening Sun, 24 maart 1921 “The new Philharmonic Orchestra is to Willem Mengelberg, conductor of the be increased to 120 musicians. There will National Symphony Orchestra, who leaves be twenty first violins, twenty second vio- next Saturday for his native Holland, gave lins, twelve cellos, twelve violas and all an interview yesterday afternoon. In the other sections proportionately advanced in course of it he put several naughty rumors size. The wood winds are going to be dou- to bed, and sent several more misfacts to bled. We need large orchestras nowadays their punishment. He talked with a tactful for our large halls. The orchestra for which directness upon the subject of his return Beethoven composed was never meant to next season, and gave more than a hint of be heard in halls such as the present day the conditions he has met now, and will provides. In modern works especially the meet then, in our orchestral world. larger orchestra will be effective, and I shall “I return next season for three or three not fail to return with a full quota of mod- and a half months – in sole charge, then, of ern works. Yes, Mahler will be among the Philharmonic. My future is divided them. Mahler was a great composer. Your between Old Amsterdam and New Am- critics of to-day are saying of him only sterdam.” what the critics of Beethoven’s time said The little man was deep in an armchair, about the Eroica Symphony!” with a grand piano on either side of him Then came Mr. Mengelberg’s definite and a long cigar sending sparks and ashes and important announcement that the out ahead. The famous fiery head of hair Philharmonic Orchestra of next season will was in silhouette against the window and be made up of the greater part of the Na- the housetops of Fifth avenue. On the ribs tional Symphony Orchestra. of a coming skyscraper up the block “The Philharmonic Orchestra is going triphammers were imitating Berlioz; auto- out now on tour. To announce which of its mobiles pumped past, down below, with men will remain and which will be dropped motifs for the horn of a Strauss. would be disastrous to its personnel and “I was reluctant,” said Mr. Mengelberg, unfair to Mr. Stransky. But do not continue “to change over to the Philharmonic. It under the impression – which is altogether was Mr. Stransky’s orchestra, and was an wrong – that the National Symphony Or- old and established organization. But they chestra will cease to exist. On the contrary, came to me again and again with their a very large per cent of its membership will offer, and have met me with willingness in go into the roster of the new Philharmon- every stipulation I could name. I told them ic.” I wished to make it a new Philharmonic, a Asked concerning the new concert bigger and better band than New York has master and the chiefs of the choirs in this ever heard. I said I wanted to make it the new and augmented band, Mr. Mengelberg greatest orchestra in America – and the gave out assurance that there will be two directors have agreed with every detail of concert masters and doubtless two first my plan for accomplishing that effect. players for each section. That is no un- Their attitude has been very generous. common custom in the important orches- tras abroad. As for the salaries of the men,

4 in charge of the new Philharmonic’s plans and those who guide the destinies of the New York Symphony Orchestra and of the decision there that present conditions between employer and employees are abso- lutely impossible. Study, he said, was im- perative in the building of a great orchestra and pointed out that study is now a too expensive luxury. The “overtime” paid to National Symphony musicians, according to Mr. Mengelberg, has amounted to from $300 to $400 a rehearsal. “The union – I anticipate it – is going to meet us halfway. A symphony orchestra cannot be governed by the same rules as a seashore band or a moving picture orches- tra. The two hour rehearsal rule which you have over here is ridiculous. In Europe I have always held three rehearsals a week, of from three to three and a half hours each, and if we intend to bring forward some new work the rehearsals mount up as high as ten or twelve. It is only when the rehearsal is longer than three and a half hours that we give them extra pay there. I want a free hand as regards rehearsals. I want at least three rehearsals of three hours here next season. “Study and rehearsal are the only rules for an orchestra so far as the men are con- cerned. With study and rehearsals I can do great things with any orchestra. I have done it with the National Symphony. I have made it the best orchestra in New York. Did you hear how they played the ‘Heldenleben’ last Sunday night? I have made them the greatest orchestra in Ame- rica.” The American, 16 februari 1921 (NMI) Mr. Mengelberg was asked to compare the National with certain famous orches- he declared them still unfixed. Perhaps, he tras across the Atlantic. He did so willingly. confided, all the orchestras of the city “There is one orchestra,” he said, “which would be returning before long to the open surpasses it – the Concertgebouw in Am- shop. He told of meetings between those sterdam. I conduct the Concertgebouw.”

5 Mengelberg Sees a Rich Musical Future for America

Musical America, 15 januari 1921 of being “all over” the orchestra pit. Now Arthur Nikisch once attributed his success he was illustrating a point by playing a as a conductor and his popularity with the phrase on a viola, now he blew a clarinet, players under him to his willingness to treat now tinkled a triangle, now beat a kettle- his men “as souls rather than machines.” It drum, now drew a ’cellist’s bow. Mr. seems probable that Willem Mengelberg Mengelberg can do much the same thing in follows the same principle. For he, too, enjoys the esteem and hearty co- operation of the members of whatev- er orchestra he conducts. His simple, democratic manner becomes quickly evident to anyone who speaks with him even briefly or casually. None of the mystery or aloofness popularly associated with great artists surrounds him. He is affable, kindly, and easily moved to enthusiasm. He can con- verse fluently in English but prefers, when tired, to speak French or Ger- man. With such of his intimate friends as are at hand he uses his native Dutch. They say the players of the National Symphony Orchestra have worked with a mighty will to carry out his wishes. He rehearsed them daily for four or five hours the days following his arrival. He declared a few days before his first concert that the material of the orchestra was admirable and that in a month or two he might have it in the condition he wanted. Naturally, it was not yet so New York Tribune, 24 februari 1921 (NMI) and much remained to be done be- fore it would be. That, however, is a the way of practical demonstration. He was state of affairs to be expected. One does a tympanist in his youth and played trum- not play with perfect ease on an instrument pet, as well. He knows the other instru- before being completely accustomed to its ments intimately. He finds such knowledge workings. And instruments have, in a fash- the bounden duty of a conductor. “The ion, to adapt themselves to their users. orchestra is the instrument,” he says, “up- It is related that Hans Richter, when on which the conductor plays. Now, how rehearsing a Wagner opera, was in the habit can one play upon an instrument without

6 some knowledge of the working of its “Ariadne auf Naxos.” But it is not a work parts?” As a result of his own familiarity for a large auditorium. The “Alpine Sym- with such matters he is always able to make phony” he admires heartily, and declares it his demands perfectly clear to his men. to be still popular in Europe. There has During the first week of his stay here, been little music since the war of marked Mr. Mengelberg was occupied not only significance. The French school which with the rehearsals of his orchestra but in produced as its high-water marks Debussy listening to other orchestras and conduc- and Ravel, has, to his mind, written itself tors. In fact, he had a dizzy time of it. It out. No further progress is possible along was Toscanini one day, Monteux the next, that line, and if the French are to advance then Stokowski, then Stransky, then Dam- musically it will have to be along other rosch, then the opera. He missed Albert lines. Mr. Mengelberg further deplores the Coates, but knows him well from Petro- effect of this school on young writers of an grad days. The two conductors are, indeed, imitative bent. close friends. Mr. Mengelberg admires “There is a promising school of young profoundly the orchestras he has heard writers in Holland,” he says. “It includes here, their material, their training, their such names as Bernard Zweers, Alphonse ensemble. He finds many of them superior Diepenbrock, Johan Wagenaar, Cornelis to the foreign ones, though his respect for Dopper, G. von Brucken Fock, Willem his own organization in Amsterdam – Pijper and H. D. van Goudoever. They are which is under the guidance of Dr. Muck not yet familiar to outsiders but they de- during his American sojourn – is of the serve to be. I look confidently to a pros- highest. It is a finished product of his own perous Dutch school of composition.” molding. So will the National Symphony Of American composition Mr. be when he is done with it. Mr. Bodanzky, Mengelberg knows the works of Ernest he asserts, has done much to perfect its Bloch and Charles Martin Loeffler. He will, ensemble and properly fuse the whole, indeed, represent these two on his pro- though, of course, different conductors grams here, the first by the “Schelomo” have different methods, and what an or- Rhapsody, the second by the “Pagan Po- chestra does under one it has often to em.” “But there is no reason,” he asserts, undo under another. “why an American school should not arise. The works to be presented by Mr. I know the wealth of talent that is in this Mengelberg mingle, of course, the classic country. I know the musical status of New and the modern. Of Mahler he will not York – it has grown remarkably since I was give an undue quantity – merely two sym- last here. Once the great world center of phonies and the “Song of the Earth.” Of musical doings was Paris. Then it became Strauss he plans to give the dance of Salo- Berlin and to a certain extent London. To- me, in addition to “Don Juan,” day, thanks to the war which has caused “Heldenleben” and “Don Quixote.” the emigration of innumerable European Strauss, he relates, has lately prepared for musicians and to the wealth and taste here, orchestral presentation a suite made up it has come to be New York.” from the score of the “Bourgeois Herbert F. Peyser Gentilhomme” in which was included

7 Programmacollectie Mengelbergarchief, NMI

8 Mengelberg Ranks Mahler Greatest Since Beethoven

Musical America, 18 februari 1922 any other work which I conducted. This Of all the enthusiasms of Willem year I shall play the Third Symphony. It is Mengelberg, the conductor of the Amster- a great work.” He pounded the table to dam Concertgebouw Orchestra, and they give his remark emphasis. “One of the are many, his admiration for Gustav Mah- greatest there is,” he added, “and I predict ler shines forth brightest and most clearly for his Third Symphony the greatest suc- defined. In America once more, as guest cess of my season – oh, absolutely! conductor with the New York Philharmon- “No one since Beethoven has worked ic Orchestra, the genial and ruddy Dutch out the symphonic form with greater skill conductor talked recently of modern com- or beauty than Mahler. His choruses are posers in Europe as he sat at the lunch magnificent, in my opinion, and I have had table with his wife, his secretary, Sam great experience with his scores and played Bottenheim, and Erna Rubinstein, the most of his compositions at some time or fifteen-year-old violinist, whose visit to this other. He is absolutely a great master. He country he arranged and who played at his put his whole heart and soul into his first Carnegie Hall concert. works.” “I believe Mahler to have been the Second only to Mahler among the latter greatest symphonic composer since Bee- day composers, in the opinion of the visit- thoven,” he said, “and, like Beethoven, he ing conductor, are the works of Richard was a democratic composer, and the basis Strauss, whose “Don Juan” he conducted of his greatest work is really folk music. at his first performance at the Metropolitan Beethoven was a democratic composer in Opera House this year. Strauss and Mahler, an aristocratic age, and Mahler developed he declared, are the two outstanding com- as a democratic composer in a democratic posers of the past decade. For Bruckner, age. Perhaps that explains a littly why the too, he expressed admiration, although the notice that is bound to reward his work has works of the composer are none too popu- not come so quickly. You will see in twenty lar outside of Germany. or thirty years, and perhaps sooner, that the public will be asking for Mahler sym- Many Talented German Composers phonies. Already he has a great following Among contemporary composers in Ger- in Germany, and his works are performed many, Mr. Mengelberg mentioned the constantly on the programs of the finest name of the four who, with Richard orchestras.” Strauss, go to make up what is known in Last year Mr. Mengelberg conducted Germany as “The Five” – Busoni, two Mahler symphonies during his visit Schreker, Reznicek and Pfitzner, all of here as guest conductor of the National whom have contributed new orchestral or Symphony, now merged with the Philhar- operatic works to German musical litera- monic. “I know,” he said, “that some of ture during the past year or two. the critics did not care for the works, but I “In Berlin,” said Mr. Mengelberg, “I felt that the response of the public was heard ‘Christelflein,’ the Christmas opera very strong – as strong as its admiration for of Pfitzner, and was rather disappointed. It

9 is an interesting work, and Pfitzner un- to include several of his orchestral works in doubtedly has talent. So have the others. my Amsterdam programs of next year.” There is plenty of talent in Germany, as I From the conductor’s conversation it see it, but the greatest of the lot is Strauss. was evident that his leanings are definitely Early this season I conducted a new work toward the Germanic school of orchestral of his, ‘Three Hymns for Orchestra.’ Here composers. For the contemporary French is a fine work of the first order.” composers he expressed a passing interest In passing, the conductor mentioned and of Arnold Bax, Eugene Goossens, among the more recent Dutch composers Arthur Bliss, Vaughan Williams and others the name of Alphonse Diepenbrock, who of the younger men who are responsible died last April; Johann Wagenaar, whose for what certain British critics have termed ‘Barber of Bagdad’ was a recent contribu- “the English musical renaissance,” Mr. tion to European opera; Cornelis Dopper, Mengelberg had heard reports, though he G. Van Brucken Fock, Willem Pijper and was unfamiliar with their compositions and H. D. van Goudoever. “These men,” said mentioned one or two by Bax as the only Mr. Mengelberg, “make up an interesting ones he had heard. Further discussion of group, and they are doing good work. the Germanic group brought up the name Among the interesting compositions with of Arnold Schönberg. “He has offered us which I have had contact during the past nothing new in a long time,” he observed. year was a work by Kurt Atterberg, a Swe- “We are waiting to hear from him. ‘Pierrot dish composer, who will certainly become Lunaire’ was heard for the first time in better known.” Paris this winter, but it is an old work done eight years or more ago.” Nothing New from Schönberg Mr. Mengelberg had high praise for Ernest Praises Philharmonic as a Body Bloch, whose “Schelomo,” a work for “One thing I would like to say,” continued orchestra with ’cello solo, was performed Mr. Mengelberg, “and that is that the Phil- during the past winter by the Concertge- harmonic is a superb body of musicians. bouw Orchestra for the first time in Hol- Above seventy per cent of the present land. For the talent of H. H. Wetzler, who members were enlisted last season in the resided in America some eighteen years ranks of the National Symphony. When ago, the conductor expressed admiration. the question of the merger of the two The composer’s “Schlemiel,” a choral and bodies arose, I was called upon to select symphonic work, was given in Amsterdam the personnel of the existing Philharmonic, early in the season and created a profound and I am deeply pleased with the result.” impression. His overture to “As You Like Mr. Mengelberg refused steadfastly to It,” Mr. Mengelberg said, would be includ- discuss the rumored possibility of his even- ed in one of his programs in New York. Of tually succeeding to the command of the Reznicek, the German composer, whose orchestra. works are popular in Germany and little “I expect to come back next season as known outside, Mr. Mengelberg expressed guest conductor for a series of concerts,” respect. “His compositions are a great deal he said. “After that I do not know what my like those of Dvorak, only they are not plans will be. I am always conductor of the nearly so national in spirit. I am planning Amsterdam Orchestra.” L. B.

10 Behalve op op 28 februari voerde Mengelberg de Derde van Mahler uit op 2, 3 en 5 maart 1922. Afb.: New York Philharmonic, Leon Levy Digital Archives

11 One of the greatest conductors, if not the very greatest

Musical Courier, 16 maart 1922 Aside from his technical gifts, the at- How lovingly, conscientiously, irresistibly, tribute that makes Mengelberg so success- Mengelberg led the two waltzes, and, in ful in handling an orchestra is one that fact, all of the pieces on the program. He every great artist possesses – enthusiasm. radiated magnetism, brilliancy, personality. His interest in everything he plays is un- One felt that the leader felt the music. He flagging and utterly real. His attitude, to- throbbed and quivered and exulted with it. ward both players and audience, the mo- It shot him through and through like an ment he steps upon the conductor’s plat- electric current and he was a human rheo- form is: “Just you listen! This piece we’re stat giving out illuminating sparks. The going to play is the greatest music ever secret of Mengelberg’s hold on his hearers written, and it’s just my luck to have the is penetrated with keen insight by Deems finest orchestra in the world here to play Taylor, who put his findings into the best it!” It would be impossible, one imagines, summing up that has been made of the for him to give a perfunctory performance fascinating Amsterdam leader: of anything. Unless he could find some- In his two seasons here Willem thing in the music to stir him he would Mengelberg has shown himself to be one probably be unable to lift the baton. Some- of the greatest conductors, if not the very times he is moved by strange causes; wit- greatest, in the world. Under his baton the ness his devotion to Mahler. But moved he men play with an elasticity of tempo, a always is, and genuinely so. He must have nicety of phrasing and a subtlety and beau- conducted Beethoven’s “Pastoral” sym- ty of tone color that one would hardly phony hundreds of times in his career; yet expect even from a virtuoso string quartet. when he played it at his first afternoon His hold upon his players seems to be concert this year any one watching him absolute. They follow his slightest gesture beat the opening bars would have sworn with complete understanding and eager that a world premiere was beginning. obedience. They almost invariably applaud All great men have it, of course, this him, and after some particularly brilliant priceless ability to get excited over the concert they are more than likely to give habitual. Roosevelt had it. He could say, him a recall of their own, after the audience “Honesty is the best policy” with the air of has started to leave. It is this cordial rela- Newton discovering the law of gravitation. tion between himself and his men that puts And to him it was a discovery; and people the final touch of inspiration upon his suddenly believed it because he did. Fritz work. For, after all, conducting an orches- Kreisler has it. When he plays the Beetho- tra is an intensily personal matter. A great ven concerto you realize that he plays it drillmaster can exact perfect obedience because he loves it and believes that it is from his men, but the greatest drillmaster great music, not simply because it is the in the world cannot get inspired playing thing a violinist ought to play. out of a body of instrumentalists if they Arturo Toscanini possessed exactly that happen to dislike him. gift of divine surprise. He could make anything sound interesting, because he

12 believed in whatever he played. But hearsing his men. The announcement took Mengelberg is perhaps the greater of the him by surprise; it meant the end of the two; for not only does he believe in the National Symphony, and, for all he knew, thing he is doing but he has faith in the of his own career as conductor in America. people who are helping him do it. He as- Yet when the bulletin had been read he sumes that every man in his orchestra has took up his stick and said, simply: “Gen- the same passionate interest in music that tlemen, that may be true or not. I do not he has. Last spring, when the National know. But it does not concern us now. We Symphony Orchestra was finally merged are artists; let us make music.” And the with the Philharmonic, the news of the rehearsal went on. merger arrived while Mengelberg was re-

Willem Mengelberg finds promising composers in U.S.A.

New York Morning Telegraph, 30 april 1922 have to leave several hours’ work un- Red hair, crisping with vitality, brilliant touched. There are moments when I feel blue eyes and a personality which seems an rather pleased to think that to-morrow I equal mixture of charm and enthusiasm, start on my vacation. I am going first to these are the things that impress you when Holland. That trip will be business, because you see and talk with Willem Mengelberg. I am not only conductor, but also director The fact he has conducted thirty-five con- of the ‘Concertgebouw Orchestra,’ and certs for the Philharmonic in a little over next season’s program must be planned. three months’ time seems to have made no From there I go to Italy, pleasure only, and impression on his enormous energy. then I go to my farm in the Engadine. “I work,” he said, “about thirty-six “You know I quite like that Swiss farm hours out of every twenty-four and then of mine. I built it myself. Perhaps you did

Tekening van O. F. Howard in de New York Morning Telegraph, 30 april 1922 (NMI)

13 not know that I am an architect.” He As for the rest, they are merely music, and seems prouder of that than he does over isn’t that quite enough? the fact that his conducting of the Ninth “Am I still composing? In a fashion, Symphony is famous throughout the musi- yes. When I am not reading score in the cal world. “Yes,” he continued, “it is a very Summer I am making sketches of my own, nice farm. I have the most charming goats, which if I ever get the time I hope to work the most amusing chickens, to say nothing out later. Soon I will retire. I have been of the cows and horses. You should see my conducting now for thirty years. It seems horses. I speak English so poorly that my almost long enough and really you know I words wouldn’t do them justice. Now must be getting old. I might add, though, perhaps if you would speak Dutch with that I feel about seventeen. So let us elimi- me? No. Well, possibly the English is bet- nate that phrase ‘born in Utrecht, March ter. My wife insists that I need the practice. 28, 1871.’ But to return when I retire, I She is one person whose word I never hope to work out the sketches I am writing doubt. now. “What do I do in the Summer? Well, I “Perhaps my fondness for encouraging read scores and read scores and still more young artists arises from the fact that I scores. This Summer I have several from received no undue encouragement from talented young Americans. You know there my father. Not that he opposed me, but as are a great many very promising young you know, he was an architect and a sculp- composers in this America of yours. What tor. Therefore, why shouldn’t his son be an I want to do is to introduce their work into architect and a sculptor? It seemed a very Europe as well as here. Europe will benefit laudable thing to me to restore the dome and they will be encouraged. I always like of the Cologne Cathedral, which my father to do what I can to encourage and help did, but it seemed much more laudable to people with talent. I remember about lead a choir in a cathedral after some one twenty years ago in Amsterdam Ernest else had built it. Schelling came to me. Immediately I real- “I remember one year when I was eight ised he had ability. Undoubtedly he would years old I composed a Christmas song have developed without the encourage- which I presented with great pride to my ment and help I gave him, but possibly I family. It must have pleased them because made his success a little quicker. I know they proceeded to give some heed to my several Americans now who are going to musical education. Two years later I had become great. If I gave you the names of organized a choir of sixty, picking the one or two and forgot others, it would members from some two hundred work- cause unhappiness, wouldn’t it? So, let it go men in my father’s atelier. I used to con- at the fact that I expect great things of duct standing on a table. Really I was quite some of my proteges. small when I was ten years old.” “Do I find that there is a distinctive “Is it that you think you are so enor- American type of music? Of course, when mous now?” broke in Mrs. Mengelberg. the composer takes as his theme your old “My wife, again she brings me back to folk songs, that is American and is recog- earth,” said Mr. Mengelberg with a chuckle. nized as such. That, I think, will last. But the working out of some of these Indian “After my choir experience I studied at the themes, I think, is merely a passing phase. Utrecht School of Music, then later I went

14 to the Cologne Conservatoire. There I Frankfort, with tours to Spain, France, specialized in piano composition, but in Italy, and finally in 1903 I went to London, 1891 I passed, over eighty-six other appli- where I conducted at the Strauss Fest.” cants, the examination for the position of Mr. Mengelberg was too modest to say director of music at Lucerne. That rather that Strauss had dedicated “Ein pleased me. I was at Lucerne three years. Heldenleben” to him and his famous In those three years I organized choirs, “Concertgebouw,” and that he is supposed to interpret Strauss’ music better than any other conductor. After the Strauss Fest he went to Lon- don more or less regularly and was for a time conductor of the London Philhar- monic. It was, as he says, “A mad rush.” “Why,” he went on, “I would have an afternoon concert in Amsterdam. I would take the 7 o’clock train, the next morning I would arrive in London: at 10 o’clock I would have a rehearsal, then I would have a concert, and that night I would leave again for another concert the following day in Amsterdam. It was the same with my concerts in Germany – always this rush. The war, of course, stopped that. I could make no definite engagements. I would say, ‘I will be there at 6 o’clock,’ and 6 o’clock might find me looking sorrowfully out of my compartment window, my con- cert still many miles away. It couldn’t be done, so I confined myself to Amsterdam, with an occasional trip to Germany, when the train service permitted. Transportation Op de boot in New York (George Grantham Bain in Europe still leaves much to be desired. Collection, Library of Congress) “Do I like my work in America? Very gave concerts, conducted chamber music much, indeed. I like your audiences. They and gave singing lessons. In 1895 I went are enthusiastic. That always pleases a back to Holland. At Amsterdam I orga- conductor. Music lovers are much the nized the ‘Concertgebouw Orchestra.’ It is same everywhere, and I have but come still there and I am still conductor. Twenty- from Amsterdam to New Amsterdam. I seven years. That is quite a while. They had been approached many times before have not all been devoted to the ‘Concert- last year to come here, and always in the gebouw.’ No, I have done much work back of my mind I knew that some time I elsewhere. In Germany at the Museum would. Last year when Mr. Bodanzky and Konzerte and the Caecilien Verein at the board of directors of the National

15 Musical Courier, 1 mei 1924 (NMI) Symphony Orchestra asked me to come rather definite ideas in regard to these and build up the same type of orchestra ‘artistic questions’ under discussion, but let that I had built up in Amsterdam, why I us hope that next January will see me back thought ‘the time has come.’ I worked on in New York again.” the same lines with the National Symphony It would be more than regrettable if last year that I had been working on with Mr. Mengelberg did not come back next the ‘Concertgebouw,’ and this year after year. His ‘Concert-gebouw’ is an institu- the National merged with the Philharmonic tion: if we could have something like it, we I have been doing the same thing. should; and isn’t he the logical man to “I hope to come back next year and produce the same thing here? What a man continue with the Philharmonic. Whether I of his personality and accomplishments will or not I cannot definitely say. It de- could do for American music is inestima- pends upon whether certain artistic ques- ble. To have an authority so great say that tions are settled to every one’s satis-faction. American music is taking to itself a distinc- Of course, I am prejudiced. I have certain tive form and that our composers should

16 be ranked among the best, makes one the discussion the manufacturer wanted to discount these rumors that get around that know where his place of business was. we are imitative and really have no music When he discovered that Mr. Mengelberg of our own. was a musician and not a brother manufac- “But just now things musical don’t in- turer, he said it really wasn’t quite the thing terest me half as much as my coming vaca- for a layman to know so much about tion,” Mr. Mengelberg continued. “Besides enamels. How he accomplishes so much is my thirty-five concerts here, I have given beyond the comprehension of the average fifty-three others since last September. I person. think I deserve a rest. Also there are other If, as he says, he is going to retire in a things to enjoy as well as music. I like few years, there will remain one thing to pictures.” console us: that is, he will go back to his composing, which he has neglected for In that one sentence, “I like pictures,” is conducting. And he chose the conducting concealed the fact that not only does Mr. because it gave him greater scope. He has Mengelberg like pictures, but he is an en- proved the scope of his conducting and in thusiastic collector and an authority. He spite of the consolation of compositions to doesn’t stop with pictures, but also he come this retirement idea doesn’t appeal at collects Gothic furniture; his collection of all. Eglomise enamel is noted. There is a story Melville Johnson that he was discussing enamels of various sorts with a manufacturer. At the end of

Critics Unanimous in Their Praise of Mengelberg’s Conducting

Musical Courier, 18 juni 1925 Naturally, only a conductor of artistically heroic Every year since he has been known as the stature could really play such a program and hold conductor of the New York Philharmonic an audience spellbound and immovable for two Orchestra, Willem Mengelberg has made a hours. Which was what Mengelberg not only did, spring tour with the orchestra, and every but had such tremendous ovations after each num- year the notices in all the cities where he ber that he might have added the Beethoven Ninth appeared have glowed with praise of his for an encore, and every one would have remained conducting. This year on the occasion of to cheer. . . the Beethoven Eroica was not just the annual Philharmonic spring tour Symphony No. 3, another long composition, but through eastern cities, the tributes were under Mengelberg’s glowing genius became a titanic more enthusiastic than ever before. At the structure of crystalline clarity. The funeral march Philadelphia Academy of Music, Mr. and allegro of the final movement were played with Mengelberg presented a program peculiar an unearthly loveliness that was indescribable; a in that it was made up of only two reading of classic simplicity that is not likely to be numbers, the Eroica Symphony and Rich- surpassed in many a day. . . Richard Strauss ard Strauss’ Heldenleben. The critic of the knew what he was doing when he dedicated Ein Philadelphia North American said: Heldenleben to Willem Mengelberg, and he might have added an injunction against any other conduc-

17 tor’s ever attempting to play it. Mengelberg has was meant for the good playing of his musicians as made this colossal work entirely his own, and his well. conception of it it breath-catching. The Herald critic was no less enthusiastic: The Inquirer critic referred to Mr. Mengelberg has won for himself a place among the Mengelberg as “one of the most remarka- greatest conductors. . . . He has his players almost ble musicians,” in praising the con- cert, while the Public Ledger critic said: There can be no doubt that Mengelberg is one of the outstanding conductors of the world today. He has taken an orchestra which, by reason of having no one perma- nent conductor for training, had devel- oped some orchestral faults, and welded it into a remarkable Academy of Music, Philadelphia organization within the space of a few weeks. literally under his thumb. He has a wonderful magnetism and gives every phrase with intelligence, The Washington visit of the organization breadth, precision and telling effect. He has an brought forth no less approval. The same unconscious natural grace in conducting, with no program was presented there as at Phila- studied posing, nor rhythmic-dance effects, and he delphia, and the critic of the Post said: brings out pronounced rhythms. His violins play as Mr. Mengelberg won instant favor by his thorough one instrument, and their uniform bowing is a command of the baton and his ability in getting the delight. . . . The enthusiasm was so great at the utmost from his players in temperamental response, finish that nearly the whole audience remained in precision and pliability. His style of leading is their seats to bring him back again and again, and marked by intense sincerity, utter absorption in the finally he brought his players to their feet and theme of the moment and a glowing appreciation of waved his admirers an adieu. each fine point of the score. . . Mr. Mengelberg generously invited the orchestra to share in the Between Philadelphia and Washington the ovation which greeted the close of the program, but orchestra stopped off for a concert in they did not rise, thereby indicating to him that Baltimore. The critic of the Evening Sun of they considered it a personal tribute to his own art. that city paid the same tribute to the So it was in great part, for Washington acclaimed Hollandisch conductor’s ability as his col- in him another master conductor, but some of it leagues in the other cities visited:

18 Genius has been defined as a capacity for taking There was none of the third vice-president, the infinite pains. Measured by this standard, second lieutenant, or the main-aisle usher in him; Mengelberg is a real genius, for he goes into the he was simply a craftsman intent on composition, minutest detail of analysis, of phrasing, of accentu- and absorbed in building a fabric. A good brick- ation, so that the interpretation of any work played layer would have envied him his sincerity. There by the organization under his baton takes on an was none of that damnable facility, cleverness, authority, a sincerity, a scholarly quality, a finish suavity, that is in so many of us in music. He and a refinement peculiarly his own. And stamped his foot like a country fiddler, he coaxed Mengelberg’s scholarliness never becomes academic, and he pulled, and the men knew what he wanted but always carries a vitalizing and humanizing and they gave it to him, and the result was that he quality that makes it very much alive and appeal- made what might easily have been a frightfully ing. banal program into one of the most stimulating concerts of the year. Another city visited was Wheeling, W. Va., where the critic of the Intelligencer said: The Pittsburgh Sun said: Willem Mengelberg and the New York Philhar- Mr. Mengelberg directed as he did last year, with monic, appearing in the Sixtieth University club that singular galvanizing energy that whips a concert and the final number of the present season, sluggish cello into line and that thrills a trumpet or gave an orchestral program in the Court last night a tuba into putting an edge on the tone. Lethargy that will be long and lovingly remembered by the and indolence are not in him, and yet he builds one capacity audience that heard them. Perhaps we of the largest crescendi-fortissimi heard. have had playing to equal this... but we have never had anything superior. That is inconceivable. And the Press: Once again the New York Philharmonic has The music editor of the Daily New (Wheel- completed its annual trip to Pittsburgh, and again ing) wrote: Mengelberg is a master interpreter of it has established itself as the finest playing organi- the greatest in music. zation to visit the Steel City. Mayhap it is the conducting of Mengelberg that is alone responsible Pittsburgh, too, was no less interested in for the worth the Philharmonic displays. There is a and enthusiastic about Mr. Mengelberg and spontaneous response, a beauty of tone, a perfect his men. Harvey B. Gaul, the well known ensemble that characterizes the orchestra. musician, who is critic of the Post, wrote: Some men sigh because they were not with Grant Mr. Mengelberg, who has been busy con- at Appomattox, and some wish they could have ducting in Europe since his return, is short- been with Pershing on the Hindenburg line, but as ly to go to his summer home in the Enga- for us, we’d like to play a fiddle, or even a pair of dine for his annual rest. This year he will castanets, with Willem Mengelberg at any of his not be absent from New York so long as engagements. It struck us last night when he con- usual, for instead of leading the latter half ducted at the Mosque that a man might be proud of the Philharmonic season, as has hitherto to play under a leader like that, and somehow he been his custom, he will return in October seemed to be the finest conductor we knew. . . . He to conduct from then until January. was so unconscious of himself; he never saw himself doing the job, and always he was pouring, mould- ing, hewing, hacking, and even petting the phrase.

19 Novelty Of Mechanical Music Will Fade, Says Mengelberg

The Sun (Baltimore), 18 december 1929 “Besides,” smiled Mr. Mengelberg, di- The novelty of mechanical music soon or verging slightly from his original theme, “as late will wear off and the movie public far as concert and radio go, the radio can return to the old-fashioned music known never reveal to Mrs. Smith’s social rival, as legitimate. Such is the opinion of Willem Mrs. Brown, that Mrs. Smith has a new red Mengelberg, famous conductor. evening gown.” The conduc- On the whole, tor would not say Mr. Mengelberg that he consid- showed himself ered as a legiti- quite sympathetic mate musician the to radio. He small-town mov- mentioned that ie’s pianist, who is his invalid moth- so adept at er always listens switching, in the in on his concerts flicker of a film, in Amsterdam, from a heart- and also that rending passage when he con- from Aida, played ducts in Holland, while the hero is his concerts are at his dying broadcast to the mother’s bedside, Dutch East In- to a foxtrot off dies, for – as Mr. on his beloved Mengelberg put it broncho to – the solace of avenge her. But marooned coffee he does believe planters. the machine As for Irving cannot replace Berlin and the man in the world other syndicated of melody, what- songbirds of Tin- ever those melo- C.J. Maas Jr. in de Brooklyn Daily Eagle, Pan Alley and dies may be. 11 oktober 1925 (NMI) Hollywood, Mr. “It is like radio,” Mr. Mengelberg said. Mengelberg hummed something about “When broadcasting began, my manager sweetheart, Paradise, castles in Spain and told me we would play to smaller houses. the moon, and said something in his native This has not been the case. Novelties al- language about there being all sorts of ways attract attention when they first come animals in a zoo. On the other hand, he out, but you may be sure the public will expressed interest in George Gershwin’s want to hear music played by players they Rhapsody in Blue, which he heard recently. can see, not machines.

20 Willem Mengelberg in Amerika

Uit het Algemeen Handelsblad van 30 april 1925 Voor den vijfden keer hebben wij Willem kunnen wijzen op een verleden, dat door Mengelberg in zijn woning welkom ge- strijd met volkeren en elementen landen heeten na terugkeer van een driemaande- overwon en cultuur vestigde. Amerika lijksch verblijf in de Vereenigde Staten en heeft door stalen energie, door onbeteugel- wéér hebben wij hem gevonden: friseh, de werkkracht en ongebroken vitaliteit een levendig, graag vertellend van dat land met magnetische eigenschap verworven, die alle zijn wonderlijk voortvarende menschen, grooten trekt naar zijn metropole. En voor van het werken dáár, onder zoo gunstig den Nederlander Mengelberg is het een mogelijke omstandigheden, van het „gees- genot, al die grooten, die allergrootsten telijk bad”, dat men krijgt in dat wereld- dáár te ontmoeten en met hen samen te deel, waar de hooge lucht, ondanks huizen werken. Een genot èn een prikkel! als torens en duizend fabrieken, inspiree- Daar lag immers, in de millioenenstad, rend werkt en waar de arbeid wordt ge- de stad van millioenen menschen en van diend op schier ongelooflijke wije. onbegrensde durf, een terrein braak, dat, Voor den werker Mengelberg, voor den eens ontgonnen en be-arbeid, de rijkste leider, wiens systeem de bekende prachtige vruchten zcu brengen. Daar was mooi, resultaten bracht en wiens „honderd pro- maar uiterst moeilijk werk te doen dat, zoo cent” populair en gevleugeld werd, moet het slaagde een triomf zoude worden voor het zijn in dat land van opbouw en ruste- den arbeider. loozen arbeid wel een genot en een prikkel Dat werk, dat opbouwende werk heeft tevens wezen, zoo een prikkel althans nog Mengelberg aangepakt, omdat hij, organisa- noodig ware om dezen Hollander te leeren, tor „in den bloede”, voelde, dat hier wat dat het etmaal vier-en-twintig uren heeft en was te bereiken. dat ieder individu alleen zijn plaats kan Toen hij zich, vier jaar geleden, bereid blijven innemen, als hij zijn werkkracht op verklaarde om het orkest van de Philhar- peil weet te houden. monic Society te leiden, toen was voor hem Amerika, du hast es besser wel de hoofdfactor het feit, dat dit orkest Als unser Continent, der Alte. vastgeroest zat in sleur en traditie, dat, Hast keine verfallene Schlösser wilde men er iets goeds mee bereiken, een Und keine Basalte ...... ingrijpende reorganisatie noodig zou zijn. En Mengelberg hééft ingegrepen. Het Amerika, du hast es besser... Wat, meer dan eerste jaar werden niet minder dan zeventig een eeuw geleden, de dichter, ironisch, procent van de orkestleden door betere en zong op het Nieuwe Werelddeel, dat kun- vooral ook door jongere krachten vervan- nen wij, met kleine wijziging en volstrekt gen ; het tweede jaar werd twintig procent niet ironisch bedoeld, hem nazeggen. gewisseld het derde jaar werd zeven à acht Amerika mag dan geen ruïnes van kas- procent van de lessenaars door nieuwe teelen bezitten, waar roofridders hum krachten bezet en toen Mengelberg in den stamslot vestigden. Amerika mag dan niet

21 winter van negentien-vijf-en-twintig in Elk jaar merkt Mengelberg den voor- Amerika zijn werk begon, toen kwamen in uitgang; iederen keer bereikt hij een hooger het geweldige ensemble maar drie of vier plan. Zoo ver is men thans gekomen, dat nieuwelingen. Onder Mengelberg’s leiding voor het seizoen zes-en-twintig – zeven- is „the Philharmonic” uitgegroeid tot een en-twintig gedacht wordt over een tournée allereerste rangs orkest. Wat de elementen door Europa onder zijn leiding. Tegen dien betreft, behoeft het volgens de uitspraak tijd zal het ensemble waarschijnlijk mooier van den leider zèlf, in geen enkel opzicht zijn dan eenig orkest ter wereld... voor het Concertgebouworkest onder te Onder de groote werken, die dit keer in doen, maar het spreekt van zelf, dat een Amerika werden uitgevoerd, noemt Men- cultuur van meer dan dertig jaren niet in gelberg de tweede Symphonie van Mahler enkele seizoenen kan worden achterhaald. en eigenlijk in de eerste plaats de Matthäus- Toch is Mengelberg er van overtuigd, dat Passion. En weer gewaagt hij van het ook op dit gebied de evolutie zich snel, grootsch gebaar, de onbekrompen geste die zéér snel zal voltrekken, mede omdat ginds, het mogelijk maakte om voor deze uitvoe- in dat wereldcentrum, niets tot de onmoge- ringen beslag te leggen op het aller, aller- lijkheden behoort, omdat daar altijd kunst- beste. beschermers zijn, die geven met gulle hand, Het was Mengelberg mogelijk om voor met breed gebaar; die elken wensch van de uitvoering van de Tweede Mahler eer- den dirigent verwezenlijken en hem in staat sterangs artisten te engageeren, óók voor stellen zijn materiaal, zijn menschenmateri- de partijen, die achter de scène moeten aal aan te vullen met de allerbesten en de worden gespeeld ; het was hem toegestaan allereersten, zoodra hij dat noodig vindt. om voor de Matthaeus-Passion, waarvan „Mijn eerste fluitist,” vertelt Mengelberg, de uitvoering meer dan zeven duizend „is een Hollander, een leerling van Tous- menschen bracht naar Carnegie Hall en de saint Demont, die, twintig jaar geleden, in Metropolitan, onder anderen twintig Rus- ons Concertgebouworkest heeft gespeeld. Er zitten trouwens op het oogenblik wel meer dan twintig landgenooten in het or- kest, onder anderen Van Vliet, de solocel- list, en Maurits van Praag die als „orchestra manager” fungeert.” „En verder?” „Verder zijn eigenlijk alle nationalitei- ten vertegenwoordigd : Italianen, Russen, Duitschers. Maar ondanks die groote ver- scheidenheid van elementen is het saam- hoorigheidsgevoel zóó sterk ontwikkeld, dat het een lust is met het orkest te wer- ken.”

Mengelberg op klompen. John Reed in de New York Times, 20 maart 1921

22 sen te engageeren, twintig bassen, kerels eens le laten hooren zijn Amsterdamsch met prachtstemmen, die met het grootste orkest en zijn Amsterdamsch Toonkunst- gemak de lage A haalden. koor, want dàt geheel bestaat ter wereld De bladen in New York waren opgeto- nèrgens. gen over de uitvoeringen van Mahler en Even nog terugkomend op de uitvoe- Bach. De lof was uitbundig. Nog nooit had ringen van het koor, vernemen wij, dat na de wereldstad, de verwende, zooiets ge- afloop van den Matthaeus-Passion Claren- hoord. En niet onvermeld mag blijven, in ce H. Mackay, de president van de Postal dit verband, de schoone zang van Thom Telegraph Commercial Cables, die, als Denijs, die de bewondering had van pu- chairman of the board, aan het hoofd staat bliek en musici en die van allen kant de van de vereeniging welke het Philharmonic grootste complimenten in ontvangst had te Orchestra financiert, het volgende telegram nemen. Denijs was het onderwerp van den zond: dag! I did not come around to see you after the per- Holland bovenal! Zonder dat hij het af- formance because I knew full well how tired ficheert, bemerken wij, langen tijd pratend you must have been. Nothing in many a day met Mengelberg, hoezeer hij hangt aan zijn moved me more profoundly than that wonder- land. Hoo sterk hij, aan den overkant van ful performance of Bachs masterpiece and lead het water, zjjn land naar voren tracht te as only you can lead it. My very warm con- brengen. Hij praat over den organist Ro- gratulations and I am looking forward to the bert, die met hem meewerkte in de Passion, pleasure of seeing you and Mrs. Mengelberg. hij noemt de namen van tien, vijftien land- Mengelberg is vol bewondering voor dezen genooten, door hem geëngageerd en ge- kunstbeschermer, die op zoo onbekrom- pousseerd, hij is er zéér trotsch op, dat pen wijze zijn medemenschen in staat stelt, Holland, ook muzikaal, een goed figuur te genieten van de beste, de meest geper- slaat in de stad van iedere mogelijkheid en fectioneerde uitvoeringen. hij zou niets liever willen, dan New York

23 Dank zij den invloed van onzen diri- meest energieke, talentvolle menschen gent, dank zij de propaganda, die Mengel- elkander ontmoeten, waar botsingen on- berg voortdurend voor het vaderland vermijdelijk zijn, zoomin als catastrophes, maakt, interesseert mr. Mackay zich in het waar mislukkingen niet zijn te voorkomen, bijzonder voor Nederland en voor de Ne- maar waar de gestrande van heden, morgen derlandsche musici. Zóó daadwerkelijk is zijn kansen opnieuw krijgt, in dat land, dat die belangstelling, dat de Nederlandsche werkelijk voor menigeen een heksenketel regeering zijn verdiensten voor ons vader- gelijkt, die alles opslokt en vernietigt, wat land erkende door hem het officierskruis niet bestand is tegen deze overmacht, in van de Oranje Nassau-orde te verleenen. dat land werkt onze dirigent met de in- Op een soiree te zijnen huize, een feest, spanning van al zijn prestatie-vermogen en, waarbij ook onze gezant, jonkheer De terug in het vaderland, brengt hij er iets van Graaff tegenwoordig was, droeg mr. dien waarlijk democratischen geest, die, Mackay voor het eerst dit onderscheiding- niet geboren uit partij-politiek, maar voort- steeken. Zijn woning was dien avond met gekomen uit innerlijken drang, inderdáád een schat van Hollandsche tulpen versierd; alle vooroordeelen opzij zet en den mensch de eerste danser en de prima ballerina van alleen naar zijn werk taxeert. the Metropolitan voerden in oud- Dan zijn wij in de draadlooze wereld. Hollandsch costuum eenige van onze nati- Men weet, dat, in het afgeloopen seizoen onale boerendansen uit en tot de solisten de eigenaars van een radio-toestel langs die het feest luister bijzetten door hun draadloozen weg mee hebben kunnen kunst, behoorde Gerard Hekking. genieten van de uitvoeringen die het Con- Holland heeft in Amerika een voortref- certgebouworkest in Amsterdam gaf. Her- felijk ... en beminnelijk propagandist in haaldelijk werd verteld van de zonderlinge Willem Mengelberg. In dat land, waar de sensatie, die de hoorder ondergaat, als de

24 loud speaker een symphonie van Mahler, „Amerika, dat zooveel langer reeds dan een ouverture van Wagner weergeeft op de Oude Wereld „radioot”, kent alle moge- hetzelfde oogenblik, dat ons subliem orkest lijke trucjes, die de praktijk ons nog moet het werk vertolkt. leeren. En zoo zijn daar de radio-concerten Ook Amerika, ook New York zendt inderdaad een bron vau onverdeeld genot.” radioconcerten uit en het doet dit „in de In de oerwouden van Canada heeft perfectie”. Mengelberg zijn kunst kunnen brengen. „Als wij onze students-concerts gaven”, Van afgelegen farms zond men hem dank- vertelt Mengelberg, „die het best zijn te betuigingen en van de twaalfhonderd, die vergelijken met de volksconcerten hier, hem na het eerste radioconcert geestdrifti- hingen boven het orkest, op plaatsen, die ge brieven stuurden, waren er verscheiden, met wiskundige zekerheid waren bepaald, die den wensch te kennen gaven, in Wa- zes apparaten en in een kamer op circa shington of Pittsburg, in Baltimore, in dertig meter afstands van de concertzaal Detroit of in welke andere stad zij woon- gelegen, zat achter een ingewikkelde ma- den, in de gelegenheid gesteld te worden chine een deskundige, die aanhoudend de het orkest „direct” zonder tusschenkomst klanken regelde, die werkte met geluidver- van een toestel te hooren, omdat men dan sterkers en geluidverzachters; die het pia- door daverend applaus den leider en zijn nissimo deed aanzwellen en het fortissimo musici zou kunnen danken. verzwakte, opdat deze deelen niet onver- Practisch als de Amerikanen zijn, be- staanbaar of schetterend de hoorders zou- schouwt het bestuur van de Philharmonic den bereiken. Zooals een goed begeleider Orchestra de radioconcerten als een pro- dat doet bij een solist, zoo volgde deze pagandamiddel, als een eerste kennisma- deskundige het orkest, alles reguleerend, king die doet verlangen naar meer en daar- wat er toe kon bijdragen, dat het ten ge- om worden van een serie slechts enkele hoore gebrachte zoo fraai mogelijk te doen uitvoeringen en dan nog alleen maar die overkomen.

25 welke voorafgaan aan de eigenlijke abon- Teerbruine orchideeën ranken uit een nementsconcerten opgenomen. wijde vaas langs de muziekkast in Mengel- Mengelberg is terug in het vaderland! berg’s werkkamer. Het is een herinnering Zondagavond volksconcert, den zestienden aan een van de vele feesten, ter eere van en den zeventienden Mei de Matthaeus- den dirigent en mevrouw Mengelberg Passion, als afscheidsuitvoering. Dan, in de gegeven. Van allen kant heeft men den tweede helft van Januari, zien wij Mengel- Hollander bewezen, hoezeer men hem berg weer op het Amsterdamsche podium waardeert: Het orkest heeft den leider op terug. diens verjaardag een hulde gebracht in den „Waarom ditmaal de tweede helft?” vorm van een pompeuze, wijde, zilveren vragen wij. vaas, een halven meter hoog en bevattend „Omdat men er in Amsterdam zoo een opdracht in de meest vloeiende be- sterk op heeft aangedrongen, dat ik het woordingen. Wij, Holland, zijn, zoomin als tweede gedeelte van het seizoen zou dirige- Amerika, menschen van veel woorden, eren. Dan immers bestaat de mogelijkheid, menschen van onnoodige breedsprakig- de concerten wat meer „uit te schuiven”, heid. Wij heeten Mengelberg welkom en in het seizoen wat te verlengen. In Amerika dat woord vertolken wij de veilige zeker- ging men daarmede accoord. Men heeft het heid, dat de dirigent Amsterdam met New zelfs goedgevonden, dat ik wat vroeger York zal blijven deelen. vertrek, zoodat ik mijn laatste concert reeds Annelèn op 10 Januari geef.”

Uit de herinneringen van een violist van de Philharmonic Mengelbergs laatste jaren in New York

Winthrop Sargeant

The Philharmonic may or may not have ductors were laughed at. So were the brow- been the world’s finest symphony orches- beaters. Nobody who had had the honor tra, but it was certainly the world’s tough- of being browbeaten by the great Toscanini est. It was scared to death of the little Ital- was going to put up with scoldings and ian dictator who had taken over its desti- tantrums on the part of any ordinary con- nies as chief conductor. But it was scared ductor. of nobody else, and it delighted in frighten- The most stubborn and martyred vic- ing lesser maestros out of their wits. Its tim of this psychology was the Dutchman technique in playing “host” to its various Willem Mengelberg who took over the first “guest” conductors was on a par with that concerts of the season. Mengelberg was a of a spider entertaining a trapped fly. Some fallen monarch. For about a decade he had “guests” tried relentless browbeating, oth- been the Philharmonic’s supreme master. ers attempted appeals to the Philharmon- And he had been proud of his orchestra. ic’s good nature as fellow musicians. Nei- With an apoplectic temperament that ther got anywhere. The good-natured con- matched his red hair, and a meticulous

26 Teutonic regard for system and technical too”, he would grunt with satisfaction. detail, he had whipped the orchestra into a “Now you make more like the state of efficiency that had made it a wor- Concertgeboew in Amsterdam,” he would thy rival of Stokowski’s Philadelphia Or- remark proudly. “The too-too system iss chestra and Koussevitzky’s Boston Sym- werry important.” This was, to phony. Mengelberg was by nature an acad- Mengelberg, the supreme compliment, for emician – a man of rules and regulations. the Amsterdam Concertgeboew had been his greatest creation, the almost legendary archetype of the well-oiled Mengelbergian symphonic machine to which he com- pared, depreciatingly, all the other orches- tras in the world. Mengelberg talked interminably. He of- ten took up so much time orating about fascinating details that he had to call extra rehearsals in order to get a symphony thoroughly polished. He could hardly con- duct two successive measures of music without stopping the whole orchestra to deliver a lecture. Many of his lectures were very elementary, and they were incessantly repeated. “Chentlemen,” he would say at the beginning of a rehearsal, while the orchestra listened dutifully, “Chentlemen, goot Orchesterspielen” (this was the polar opposite in the Mengelbergian orchestral philosophy from “badt Orchesterspielen”) “goot Orchesterspielen, dat vill say you must not somewhiles look der balcony, und Op de boot in New York (George Grantham Bain auf Collection, Library of Congress) somewhiles auf der ladies in der owdience. No! Goot Orchesterspielen, dat vill say you He had an endless fund of very sound and vill look alvays auf der condooctor.” And very pedantic theories on how to train a with a smart slap on his own chest and a symphony orchestra. He measured every slight rush of blood to the head, he would breath and bowstroke with finicky preci- conclude, “und I am der condooctor.” sion. With the help of long lectures deliv- With this emphatic statement, he would ered in a unique dialect of Holland English, raise his baton and the Philharmonic would he explained the various systems of bowing prepare to play. The violinists would place and blowing by which he reduced an or- their bows on their strings in readiness; the chestra to the status of a well-oiled ma- wind players would inhale for the coming chine. “Vy do you make ‘doo-doo’, ven I blast. Mengelberg would seem about to tell you to make ‘too-too’? “ he would give the signal – and then he would sud- admonish a careless trumpet player. When denly think of something else to say. The the trumpet player obligingly “made too- baton would fall again, the violinists would

27 replace their fiddles in their laps, the wind monikers had developed a deep respect for players would exhale their wasted breath, Mengelberg. He was the man who had and everybody would settle back in his made them what they were. The pint-sized, chair. “I do not like schimpfen” (scolding), rather boyish-looking, middle-aged, red- he would continue. “I am not like odder headed Dutchman strode among his over- condooctors. I do not make so” – here he towering legions of bassoonists and fid- would imitate the gestures or what he dlers with dignity, as if he wore the high- imagined to be the gestures of some of his ranking uniform of a great tradition. The famous colleagues – “und so, and so. No! I Germans and Dutchmen in the orchestra make chust so!” – and here he would illus- were especially reverential. “Ach Mengel- trate his typically Mengelbergian beat. A berg!” they would proclaim solemnly, with dissertation on the superiority of the sage-looking nods of the head. “He iss so Mengelbergian system would follow. It vunderfolly systematisch.” And most of the would sometimes be half an hour before other Philharmonikers agreed. the Philharmonic started to rehearse, and But, at the time when the legionnaires then it would rehearse in driblets inter- entered the Philharmonic, Mengelberg’s spersed with similar lecture on “goot” and well-oiled universe was in a grievous state “badt Orchesterspielen,” and how a “goot of collapse. The collapse had occured sud- Orchesterspieler must can play loudt” and also denly. It was as if a whirlwind had de- “must can play soft,” and so on. scended to devastate his faultless self-suffi- There was something about Mengel- cient machine, maliciously scattering its berg’s approach that deeply bespoke the parts beyond his control. It no longer Teutonic military mind. He demanded functioned properly on its own. Systems of respect not for his personality, but for his bowing and blowing crumbled before his rank as a conductor. His admonitions were eyes. Mengelberg stood doggedly among calls to duty – not duty to Mengelberg the the wreckage, lecturing himself blue in the man, but duty to the hallowed system of face. But the machine refused to respond. orchestral technique and morals of which It was being rapidly transformed into an- he was the administrator. The system pro- other type of mechanism – a mechanism duced the results. There was no need to that Mengelberg misunderstood and was depend on impalpable factors like inspira- not equipped to dominate. The Philhar- tion or personal feeling. By the time monic was being re-created in the image of Mengelberg had thoroughly rehearsed a a formidable rival: Arturo Toscanini, who maneuver, the Philharmonic could carry it had been imported from Europe a couple out automatically by itself. At concerts, the of years before to share seasons with well-oiled machine ran faultlessly under its Mengelberg as guest conductor. Toscani- own power. Mengelberg merely stood at ni’s brilliant performances had created a the controls, pressing an occasional button. furor with the New York public. But, even The result was that the Philharmonic had more crucial, Toscanini had laid hold of become, if not the most inspired, at least Mengelberg’s New York Philharmonic the most spectacularly well-trained or- with a personal tenacity that shook it to its chestra in America. And though they had foundations. Impatient of all theories, Tos- occasionally wearied of his incessant harp- canini had quickly swept all Mengelberg’s ing on theoretical platitudes, the Philhar- carefully contrived systems into the dis-

28 card. Toscanini wasted no time on lectures. Toscanini, the orchestra player had no will He whipped the Philharmonic through of his own. He became a hypnotized crea- grueling hours of actual playing. His re- ture reflecting one single will – the will of hearsals were every bit as tense and brilliant the maestro. as his concerts. He greeted mistakes not The relentless metamorphosis of the with theoretical explanations about the Philharmonic, and the battle waged for principle of the thing, but with towering control between its two rival conductors, rages in which he broke his batons in half were interesting things to watch from the sidelines. On one side the man of principle and tradition battled for a system of musi- cal morality that he believed to be greater than himself. On the other, a relentless autocratic genius swept everything before him, demanding absolute subservience, not to law and order, but to standards dictated purely by his own intuitive taste. Toscanini felt no need to justify his acts according to laws or to prove his musical taste correct by referring to tradition. From the musical point of view, his philosophy paralleled that of Louis XIV: “La musique, c’est moi.” He was himself the embodiment of the tradition and the law, a towering, self- propelled egoist who was simply incapable of imagining himself mistaken even in his most whimsical and personal judgments. Such men have long been recognized as supremely dangerous in fields like politics, and as unpleasant boors in ordinary social intercourse. But in music, a certain primi- Arturo Toscanini tive atavism gives them an aura of gran- and kicked over his music stand. Toscanini deur. Toscanini was the prototypical genius was not interested in principles. He was – a man of the Renaissance or of the Na- inspirational, not logical. His aim was not poleonic Romantic era – the exceptional to teach a tradition, but to bend the bow- human being who is above all laws regulat- ing, fingering, breathing, and the very emo- ing normal social relations. He was his own tions of the last second fiddler or bass last court of judgment. He deferred to clarinettist to every mercurial shading of nothing. He was also a superb artist whoso his implacable will. He had no use for a intuitions in musical taste were extraor- well-oiled machine. He started methodical- dinarely correct, and who could control, by ly converting the Philharmonic into a de- instinct, the minds and emotions of a hun- pendent organism, every member of which dred men, welding them into a single gi- seemed to become a mere extension of his gantic instrument that responded to his own agile brain, body and emotions. For slightest touch. Most conductors rule by

29 fear. Mengelberg had ruled by fear of the symphonic organization rests than the law. But Toscanini ruled by a personal fear explosion of petty resentment that occurs – fear of the man Toscanini. Of the two he against an autocrat who has lost his power. was by far the greater dictator. To a musi- Mengelberg’s solemn pronouncements cian who had been frightened by Toscani- about “goot Orchesterspielen” were not greet- ni, the Mengelbergian rules and regulations ed with bored yawns and titters. His quaint were forever deprived of their awesome- Holland dialect, which had once com- ness. manded the utmost respect, suddenly be- Mengelberg’s rehearsals soon degener- came uproariously funny, and inspired ated into a state of anarchy. During the raucous laughter. Musicians got up in the first season of the amalgated orchestra, the middle of rehearsals and wandered off the newly absorbed legionnaires could hardly stage, ostensibly on trips to the men’s believe their eyes. Toscanini had been toilet. Other musicians piled up heaps of named chief conductor in Mengelberg’s music and violin cases in their paths so that place with powers to hire and fire. It was they would be knocked over and create a obvious that Mengelberg was on the way loud disturbance. Some resourceful genius out. He was now merely a guest conductor, evolved a trick of setting alarm clocks in degraded as a subordinate to his great rival. the wings of the Carnegie Hall stage, timed A man of strong character and Dutch to go off at strategic moments in the stubbornness, Mengelberg stuck to his course of the rehearsal. The new legion- guns. He made no move to emulate his naires were dumfounded at first, but soon more successful rival. He doggedly exag- joined in the fun. The insurrection spread gerated the distinctive features of his own like a joyful panic. Grudges of years’ stand- approach. When Toscanini was praised by ing came out into the open, and many an the critics for the unswerving regularity of otherwise subdued Philharmoniker sud- his tempos, Mengelberg obstinately varied denly grasped his chance to “get tough his, alternately slowing down and speeding with Mengelberg.” Mengelberg himself up until, by leaning over backward, he pro- went on fighting to the end. He reddened ducted a caricature of his own style. He at the insults and practical jokes that were was bent on proving, to the end, that the hurled at him, but his temper remained Mengelbergian system was superior to the under control and he continued his duty as Toscanini approach. His lectures on prin- he saw it, lecturing, correcting and doing ciples became even longer and more de- everything he could to salvage the wreck- tailed than before. He used his interpreta- age of the edifice he had built. His rear- tions as soap-box arguments against the guard action lasted for two seasons. Then Italian’s methods. He spent hours demon- Mengelberg packed up and went home to strating the difference between his way of Amsterdam. conducting and Toscanini’s. But Mengelberg’s admonitions now fell on deaf ears. His dictatorship had col- Uit: Winthrop Sargeant, lapsed, and his subjects had become an Geniuses, goddesses and people. anarchic rabble crying for his scalp. Noth- E. P. Dutton, New York 1949, p. 91–99. ing more graphically demonstrates the inner tension of hatred on which most

30 Mengelbergs vertrek in de Amerikaanse pers

Musical America, 10 april 1930 harmonic season jointly with Toscanini and Do you know who recommended Tosca- be the favorite. He has never been a mod- nini to Clarence Mackay for the New York est man, and the idea that a conductor Philharmonic? Three guesses. No, I don’t existed who could surpass him or exceed think you could guess if you tried. Why, it him in popular favor has ever been incom- was the good Mynheer Willem Mengelberg, prehensible to him. none other. He was at a dinner party one So Mr. Mackay secured Mr. Toscanini... evening given by Mr. Mackay when the you know the rest. Arturo Toscanini has subject of Philharmonic conductors came become the most popular conductor that up. Mengelberg knew, of course, how New York has ever known. Mynheer highly Toscanini was prized in New York Mengelberg returns not next season. I as a conductor, but chiefly as an operatic sincerely hope that the good burghers of conductor. Amsterdam will increase his stipendium there, now that his New Amsterdam salary is no more, for the latter is said to have been some ten times the former, and it surely will be missed. You remember that little chorus in “Burgomaster” which runs something like this: “Goodbye, New Am- sterdam-dam-dam-dam!” At the end of his first New York sea- son Mr. Mengelberg allowed the gushing ladies in his audience to rush up on the stage and kiss him; it was recorded in the press as a sign of his popularity. Your edi- tor wrote an article in the London Cheste- rian at the time in which he scored the Dutch conductor for such unseeming Arturo Toscanini conduct. He was one of the few who as far back as 1921 remained unimpressed at the Being at the height of his popularity, showy readings of “Les Préludes,” and the Mengelberg decided to have the best there “Salome” Dance of the Seven Veils that was as conductor of the other half of the Mengelberg gave. It was the only time in season, and so suggested the Italian maes- New York symphonic history that claquers tro. I doubt if he knew that the great Tos- were on duty in Carnegie Hall. And what canini had on his tour here after the war an exhibition they gave, their ignorance of with the less than exceptional Scala Or- concert music being so great that they chestra given us a hint of what he could do never knew when to applaud. Those were symphonically. I feel almost certain that he the days! believed that he could conduct the Phil-

31 The New York Times, 27 april 1930 It is a pity that the Philharmonic-Sym- The great symphony orchestras, whose phony cannot function the year round performances were the backbone of the under one leader. Koussevitzky in Boston concert season, distinguished themselves and Stock in Chicago conduct through the variously. The Philharmonic-Symphony season, with occasional temporary relief. Orchestra rose to its greatest heights under Mr. Stokowski in Philadelphia now takes Toscanini and fell to considerable depths long intervals of rest. Mr. Toscanini is under other leaders. A great and experien- obliged to do the same thing. A compensa- ced conductor, Willem Mengelberg, took tory fact is the change needed by the or- his departure after many years of honora- chestra, worked so terrifically and at such a ble service from this orchestra, following tension by a conductor of 63 that the play- regrettable misunderstandings and perfor- ers have nearly reached the end of their mances of a quality for which he could not endurance when Mr. Toscanini has fin- be held blameless. The list of conductors ished a third of a season. This very fact was for next season, a list only partially ar- in part responsible for Mr. Mengelberg’s ranged at this time of writing, will be astonishment and dismay when he con- lengthened before the Winter season be- fronted a tired and relaxed orchestra, gins, and the announcement that Messrs. which he could not reanimate, following Toscanini in New York and Stokowski in the first eight weeks of the season under Philadelphia will exchange positions for a Toscanini. few weeks of the season should please their audiences.

Concertrecensies van Nederlandse muziek in New York

Alle besproken concerten vonden plaats in ’cellist, who devoted two movements of a Carnegie Hall in New York en werden uit- suite for ’cello and orchestra to these popu- gevoerd door de Philharmonic onder lei- lar dances. The suite was one of three ding van Willem Mengelberg. works by Dutch composers to which Mr. Mengelberg gave their first hearing in 30 maart 1922. Dopper: Ciaconna goti- America. Unlike M. Monteux, he has not ca; Diepenbrock: ouverture voor De taken advantage of his position to deluge Vogels; Van Goudoever: Suite voor his audiences with the music of his coun- cello en orkest. trymen, and the interest in these novelties New York Tribune, 31 maart 1922 was therefore all the keener. The Philharmonic Orchestra forsook the The most important of the three was a stately measures of classic symphonies last Gothic chaconne by Cornelius Dopper, evening and experienced the singular ad- now assistant conductor of the Concertge- venture of tangoing and foxtrotting at the bouw Orchestra in Amsterdam, who stud- bidding of Mr. Mengelberg and H. D. van ied at the Leipsic Conservatory and in 1906 Goudoever, a young Dutch composer and toured America as one of the conductors

32 of Henry W. Savage’s English production of “Madame Butterfly.” [...] The second number, an overture to “The Birds,” of Aristophanes, by Alphonse Diepenbrock, considered in Holland as one of the founders of the modern Dutch school of compos- ers, was nothing more than amiable music, ingeniously scored to represent the feathered beings of the Greek comedy. No doubt students of ornithology present in the audience recognized familiar calls Musical America, 6 april 1922 (NMI) and cries. At least one nightingale was of the company. similarly unfamiliar to most. [...] This selec- Mr. Van Goudoever’s suite was a tion of three Dutch pieces caused some to strange apparition on a Philharmonic pro- wonder whether they were fully representa- gram. It is cheap music, more suited to tive of Dutch musical art of the present hotel or ballroom than to the concert hall. day. If they are, there might be questions His tango was far from inspiriting, alt- whether that art is in the true line of suc- hough he was more successful with the cession to the Netherlands school that rhythm of the foxtrot, if indeed such music history tells of. The most important of the be worthy of any serious consideration. He three was Dopper’s chaconne. The com- himself played the part for the solo ’cello. poser is assistant conductor of Mr. On the whole, the Dutch pieces were Mengelberg’s Amsterdam orchestra, and is disappointing. Cesar Franck’s symphonic known in Holland as composer, violinist variations for piano and orchestra, with and pedagogue. Harold Bauer as the soloist, and Strauss’ He has adhered in this piece in a gen- “Don Juan,” the concluding works on the eral way to the form denoted by his title, a program, came as a distinct relief. “ground bass,” with a long – too long – series of short variations. He has, of New York Times, 31 maart 1922 course, taken the modern freedom of let- Mr. Mengelberg devoted last evening’s ting his theme escape from the bass, and, concert of the Philharmonic Society to furthermore, of adhering to it only so far as exploiting the music of his native land. On his fancy and imagination dictated. It is of the program he put works of three of his a sombre and gloomy character, and the contemporary Dutch composers, whose variations rarely depart from this mood. music has been unknown to New York and The composer has shown a very con- whose very names were in all likelihood siderable technical resource and ingenuity in developing his variations; in musical

33 Programma met toelichting van drie Nederlandse werken. New York Philharmonic, Leon Levy Digital Archives

34 35 36 37 substance and all the resources of modern with as much point as they spoke to Sieg- orchestration, in which instruments of fried. He has some ideas of value, but this percussion and especially the tam-tam of piece seems to show a lack of constructive the largest size and resonance play an im- skill and a lakc of skill in writing for the portant part. He shows, in fact, knowledge orchestra. and skill in large measure. There is also Mr. Van Goudoever is a very young imagination in many of the variations; but man. He is a good ’cellist, and is to be hardly a very vital kind of inspiration; and especially commended for his tone; but the lack of contrast in the spirit and ex- much less for his ideas of musical composi- pression of the series of variations gives tion. There are an andante tranquillo on an the piece a certain heaviness and monotony allegretto, which he has intended, the pro- of effect before the end is reached. It is not gram notes say, to contrast with the follow- everybody who can sustain the interest of ing tango or fox trot. He has written these this form as Brahms did in the finale of his with much extravagance of manner, but fourth symphony. with no extravagant expenditure of musical Diepenbrock’s overture was intended thought, and without extricating himself for a performance of Aristophanes’ come- from the slough of commonness into dy. It has something of the comic spirit which this brilliant intention was likely to and verve. Is has also a good deal of bird lead him. chatter, appropriate, no doubt, to the occa- It is easy enough to use tango and fox sion, but here again Mr. Diepenbrock trot rhythms and formulas with the jazz invited dangerous comparisons, for it is not effects obtainable from the modern or- everybody who can make the birds speak chestra – not forgetting the tam-tam, for

38 which he shares Mr. Dopper’s predilection on a popular Dutch song composed by J. J. – and thereby capture the favor of part of Viotta to words by J. P. Heye, celebrating the audience. Mr. Goudoever succeeded in the feat of the Dutch admiral, Piet Hein, this, at least, and was uproariously ap- who captured the Spanish silver fleet off plauded and recalled. Cuba in the year 1628. It is a jolly piece of Richard Aldrich music, a sort of Dutch nephew to some famous pages of “Pinafore.” Of course, 11 maart 1923. Peter van Anrooy: Piet Mr. Mengelberg led it for all there is in it. Hein-rapsodie. New York Herald, 12 maart 1923 The “Piet Hein” rhapsody by Anrooy also brought novelty. It is a set of variations on the popular Dutch song “Piet Hein,” a song of the famous Dutch Admiral Pieter Hein of Dutch Republic war times. It is a well written piece of merry melody and rhythm and proved a pleasing incident in the list.

New York Tribune, 12 maart 1923 The novelty was a Dutch rhapsody “Piet Hein,” by Peter Van Anrooy, who, we are informed, conducts at The Hague, and is a pupil of Johan Wagenaar, one of those represented on Mr. Mengelberg’s Dutch program of a year ago. In this, its first public American performance, the series of variations on the popular Dutch song about the seventeenth century Admiral showed a pleasant liveliness, though hardly depth. There was plenty to please the ear and nothing to exasperate.

New York Sun, 12 maart 1923 The Dutch Rhapsody by Peter van Anrooy, that followed, came as a novelty to the public, although previously heard at a Peter van Anrooy (1879–1954), 1917 (Spaarnestad) membership concert. Its composer, a col- New York Globe, 12 maart 1923 league of Mr. Mengelberg’s at The Hague, The rhapsody by Mr. Mengelberg’s fellow has set a popular Dutch folk song in lusty countryman was introduced here last variations. Rhythmic energy prevails. The month at a membership concert of the piece sounded as Mr. Mengelberg looks – Philharmonic Society given at the Waldorf- bluff, blond, diatonic. Astoria. It is mainly a series of variations

39 Toelichting op Van Anrooy’s Piet Heinrapsodie door Lawrence Gilman voor het concert in Carnegie Hall van 11 maart 1923. Afb.: New York Philharmonic, Leon Levy Digital Archives 40 20 maart 1924. Rudolf Mengelberg: about to reach the double bar. AES- Symfonische elegie. THETICALLY it was a piece of sentimen- New York Evening Telegram, 21 maart 1924 talism, again in Strauss’s slushiest vein. Let no one suppose that the eminent Wil- Musically it displayed a deft enough han- lem exhausts the musical resources of the dling of the big orchestra apparatus it em- Mengelberg family of Amsterdam. There is ploys, but almost any young composer in another, a cousin, whose given name is these days can fill interminably staved Rudolf. This latter, a one-time student of paper mechanically well. Mr. Willem both the Conservatory and the University Mengelberg gave his cousin Rudolf every- of the Saxon city of Leipzig, now lives in thing that was coming to him. Amsterdam and writes the program notes for the Concertgebouw orchestra of the Dutch metropolis, the home orchestra of Willem Mengelberg. A “Symphonic Elegy” by Rudolf Mengelberg figured on the program of the Philharmonic concert in Carnegie Hall last evening. It had not been played previously in America, nor is it likely to be played here often. For this elegy leaves the musical laurels of the Mengelberg family squarely where they were before – on the bushy head of Cousin Willem. Pitts Sanborn

New York Evening Journal, 21 maart 1924 Mr. Rudolf Mengelberg’s piece was an “Elegy” and it disclosed very little reason why Mr. Willem Mengelberg should have played it at all except that Mr. Rudolf is Mr. Willem’s relative. We have heard plenty of music written by Americans who, morover, were not related to the conductors playing it, that was considerably better; and doubt- less there is still more American music we Rudolf Mengelberg (1892–1959) have not heard that is better still. But per- haps that is not the point. , 22 maart 1924 What is the point, however, is that this New Yorker Staatszeitung Das Werk ist melodiös, modern gehalten, elegiac affair was little more than a pretty unverkennbar unter Straußschem Einfluß, poor and very lenghty imitation of Richard ohne tiefe Empfindung, ohne welterschüt- Strauss in his worst manner. It dragged on ternde Bedeutung, aber ein ehrlich und and on, exasperating one a half dozen brav gearbeitetes Werk, das allerdings et- times with a new modulation every time was lang geraten ist. Es wirkte jedoch sehr one believed the composer was mercifully gefällig, zudem es von Herrn Mengelberg

41 mit liebevoller Sorgfalt umgeben und vom their noses in other men’s scores that it Orchester tadellos gespielt wurde. Man cannot be easy for them to preserve their kann nach dem Anhören dieses Werkes imaginative innocence. Dr. Mengelberg in Herrn Mengelberg sichterlich nicht den his music tells us much that is interesting Vorwurf machen, daß er „für die Nepoten about other composers, but he might bet- zu viel getan habe“. ter have conveyed it through his program notes. And he has not learned two lessons New York Evening Post, 21 maart 1924 which every composer must take to heart if [...] he also brought forward a new compo- he would avoid boring us. The first is that sition by a second cousin of his, Rudolf no piece of music should have two climax- Mengelberg of Amsterdam. Evidently he es of equal intensity. The second is one did not choose this work because its com- that was perfectly conveyed in a saying that poser is a relative, but because it is relative- we once read in Mr. Adams’s justly cher- ly a good work; rather better than the aver- ished Tower (we quote from a memory age novelty. progressively infirm, and doubtless without There are reminiscences, to be sure – exactness): “I like Smith: When he says, Nibelungen echoes here and there and ‘Well, I must be going’ – he goes.” Dr. Rudolf Mengelberg evidently likes the Mengelberg says in his music: “Well, I meditation from “Thais” as much as I do, must be going” – and stays, and stays, and or he would not have referred to it as en- stays. thusiastically in his own piece. The work The piece is well scored, and it is obvi- begins a little like the “Rienzi” overture. ously sincere and earnest. Mr. Mengelberg The whole score is superbly orchestrated played it with cousinly solicitude, and the somewhat a la Richard Strauss especially in Philharmonic’s accomplished English horn, the treatment of the trumpets; and it was Mr. Strano, delivered his solo passage with superbly played by Mengelberg’s musicians conspicuous skill. who had to rise to acknowledge the ap- Lawrence Gilman plause. It should be added that there is much weeping and wailing in this music. New York Times, 21 maart 1924 The English horn and the solo ’cello in His “Elegy” received a conscientious and particular tell each other their troubles in expressive reading, but it is not important heartrending fashion. “We ought to have music. On the contrary, it is much too the Blue Danube waltz after this,” said one long, weak and commonplace in invention, lady. Henry T. Finck and partaking of the character of Puccini and Tschaikowsky, and even of the Strauss New York Herald, 21 maart 1924 of “Tod and Verklarung,” in its thematic [...] a novelty, a “Symphonic Elegy,” com- material. Olin Downes posed by his cousin, Dr. Rudolf Mengel- berg, of Amsterdam, program annotator New York Sun, 21 maart 1924 for the Concertgebouw Orchestra and Dr. Rudolph Mengelberg lives in Amster- hitherto unknown, we believe, in American dam, and writes the program notes for the concert rooms. We have a notion that Concertgebouw Orchestra, which Willem program annotators should not compose. Mengelberg conducts when he is home. They spend so much of their time with These facts seem to include a brilliant

42 suggestion. If program annotators are fore, to speak out voluntarily and before going to turn out symphonic elegies and the occasion demands in praise of this such matter, who is going to furnish liter- conductor’s accomplishment. For the ary explanations of them? orchestra as it is now constituted under his But, better than that, think of all the in- baton is unquestionably a great one. spiring possibilities. There are some of us who would give large sums of real money to hear a symphonic elegy or paen or poem or anything by Lawrence Gilman. And if Philip Hale will set a Boston Symphony Orchestra program book to music this observer will go to hear it every time it is played. Mr. Gilman’s program notes last even- ing contained technical information about the construction of Dr. Mengelberg’s com- position, but none of it seemed to give enlightening explanation of the purport of the work. It sighed gently in the wood winds and at one time glided into a mo- mentarily promising violin solo, but it tarried there not long. In short it was a amiable elegy with no profound point. There was once a gentleman names Gray who wrote an elegy in which one finds the line “And melancholy marked Julius Röntgen (1855–1932) him for her own.” Dr. Mengelberg’s elegy indicated that melancholy had seized him In the first place the organization has in her relentless grasp, but could not pre- acquired a rhythm which makes it greater vent beneficent nepotism from shedding than any of its parts, its soloists, its con- her genial rays upon him. The audience ductor or the work it is performing. The was very kind to the elegy. Mr. Mengelberg string instruments play with a surety and a heartily shook hands with Scipione Guidi, rich resonance that is stirring. The wood- concert master, who played the afore men- wind and the brass ride easily through the tioned violin solo. most exacting difficulties and present a W. J. Henderson finished ensemble, as was abundantly proved in the playing of Henry Hadley’s 27 december 1925. Julius Röntgen: “Lucifer” tone poem yesterday. Oud-Nederlandse dansen. And Mr. Mengelberg has resolved his New York Evening Post, 28 december 1925 control of the men into the most delicate Mr. Mengelberg is to make his last appear- and minute response to his every mood ance of the season next Sunday afternoon and slightest gesture. That control, com- and official tributes to his work will then bined with his dynamic restraint and his be in order. It seems appropriate, there- intense musical sympathy, make it unnec- essary to resort to the prima donna tactics

43 Toelichting op de Oud-Nederlande dansen van Julius Röntgen, gespeeld door de New York Philharmonic op 27 december 1927. Afb.: New York Philharmonic, Leon Levy Digital Archives of some of our conductors. What is more, They are carefully arranged orchestrations Mr. Mengelberg is not given to performing by a living composer of numbers in a col- works calculated to display his own virtu- lection of dances published in 1551. One osity. regrets the ignominy into which the word Nothing could be more heartily simple “quaint” has fallen in the search for adjec- and rollicking and lacking in virtuoso ruf- tives to describe these dances. fles than the Roentgen “Old Dutch Danc- es,” which opened the program yesterday.

44 19 november 1927. Rudolf Mengelberg: the Midi,” by the Hollander, Gerard H. Scherzo sinfonico. von Brucken Foch, who, it was explained, New York Times, 20 november 1927 occasionally leaves Aerdenhout and Haar- A “Scherzo Sinfonico,” by Rudolf lem behind him and goes to the South of Mengelberg, brother of the conductor, was France to gather such things. played for the first time in the Philharmon- ic Orchestra last night at its third students’ concert. Like other novelties which Con- ductor Mengelberg has introduced this season, his brother’s “Scherzo” can hardly be called solid or enduring orchestral mu- sic. It begins with a thoroughly modern scherzo, sparkling in tempo but played noisily by almost every instrument in a present-day orchestra. The music is not distinguished until, half way through the composition, it floats away into a waltz, languorous and voluptuous, and taken up first by the strings, then the woodwinds, the brasses and the entire orchestra. It is this waltz which makes Mengelberg’s “Scherzo” worthy of a Philharmonic pro- gram, and which should make it a popular tidbit to lighten heavy programs of future Gerard von Brucken Fock (1859–1935) concerts. The programme announced somewhat New York Sun, 21 november 1927 grandiloquently that the Kodaly piece was This scherzo is treated “as independent having its first performance anywhere, and orchestral work, having kinship with the the Provencal impressions their first in classical sonata form, rather than the form these Americas. It might have been added of the symphonic scherzo.” The composer that although Mynheer von Brucken Foch has worked out his thematic material in an is sixty-eight years old, this was the first intelligent and well-knit fashion, the work time musical New york was aware, proba- containing much of interest harmonically bly, that he existed. as well as orchestrally. His “Midi” suite, too, isn’t likely to spread his name precisely like wildfire. The 15 december 1927. Gerard von Brucken music, as a fact, is the paltriest kind of Fock: Impressions du Midi. stuff, such as any second-year student in New York Evening Journal, 16 december composition hereabouts could turn out 1927 with an instrumental touch or two from his Mr. Mengelberg’s discoveries were a suite, instructor. Irving Weil “Hary Janos,” (a hero of Magyar legend and not an aperitive) written by Zoltan New York Telegram, 16 december 1927 Kodaly, and another suite, “Impressions of The second novelty, five “Impressions du Midi,” by a certain Gerard H. G. von

45 Toelichting op Impressions du Midi in het programma van 15 december 1927. Afb.: New York Philharmonic, Leon Levy Digital Archives Brucken Fock, suffered by coming directly the rocks and sea at La Faviere, the forest- on the heels of Kodaly’s scintillant con- girt hamlet of Cabacon. He perpetuates a ceits. Mr. Fock, a native of Koudekerke, pleasant, uneventful dance and scherzo. It Zeeland, is no flaming youth. He saw the is only when he comes to consider the light in 1859 and studied with Woldemar “mistral” – that raw wind on the Gulf of Bargiel, brother-in-law of Clara Schumann. Lyons – that he permits himself to become He not only composes but paints, and agitated. Last night this wind seemed all of there are those who vouch that he does it a mature typhoon. Yet, taken by and large, well. these “Southern Impressions,” coming He spends a part of every year in Brit- from a composer of nigh threescore and tany, and his “Impressions of the South” ten, if not vastly important are not wholly were written there (even in Brittany is not negligible. the geographical or topographical “Midi”). Herbert F. Peyser In any case, Mr. Fock does not appear to have been too deeply impressed by what he ran across, wherever it was. He writes Zie ook WM 103 p. 21 (Diepenbrock) en agreeably but with eminent sobriety about WM 108 p. 31v. (Dopper).

46 Loeffler’s A Pagan Poem bij het Concertgebouworkest

Amsterdam, Concertgebouw, 21 februa- wordt heel wat obligatoire arbeid bij de ri 1926. CGO o.l.v. Willem Mengelberg. uitvoering verlangd; een piano-gedeelte, Loeffler: A Pagan Poem (eerste uitvoe- een Engelsche hoorn en drie trompetten, ring in Nederland) die hun taak gedeeltelijk buiten de zaal op Nieuwe Rotterdamsche Courant, 22 februari een afstand geplaatst moeten verrichten. 1926 (KB) Het mag wel verwonderlijk heeten, dat A Pagan Poem van Charles Martin Loeffler, een werk, dat in het buitenland zeer veel is gespeeld en geregeld repertoire heeft ge- houden, eerst gisteren als noviteit in het Concertgebouw werd geïntroduceerd. Want dit reeds meer dan twintig jaar oud werk van den bekenden door zijn langdurig verblijf te Boston Amerikaan geworden Fransch-Elzasser is er een van groote allu- res; het is briljant geïnstrumenteerd, ge- schreven in een tijd, toen de Fransch-im- pressionistische kunst in opbloei kwam, warm van coloriet en somwijlen doortrok- ken van suggestief-melodische gedachten. Wij hebben deze compositie reeds eeni- ge malen in de Vereenigde Staten hooren uitvoeren, nog onlangs onder de directie van Willem Mengelberg, die tot de leiding van een werk als dit als een der allereersten schijnt voorbestemd, waar toch de contou- ren strak moeten worden getrokken en een pictoraal talent wordt verlangd om de contrasten tusschen licht en donker zoo scherp mogelijk aan te geven. Ook in de Charles Martin Loeffler (1861–1935), getekend door auditie van gisteravond genoot het werk John Sargent, 1917 (Museum of Fine Arts, Boston) een meer dan suggestieve vertolking, welke de hoorders wellicht een oogenblik moet Voor de pianopartij was de medewerking hebben verbluft. Er gingen zelfs eenige van Mevrouw Anny Mesritz-van Velthuy- seconden van stilte voorbij, alvorens het sen verkregen, de andere obligatoire artis- applaus intrad, een applaus, dat voor een ten waren niet afzonderlijk op het pro- deel ook op rekening van de prachtige gramma vermeld. Zij vervulden hun taak uitvoering kan worden geschreven. Er naar behooren, de trompetten waren zelfs

47 Aankondiging van de allereerste (tevens allerlaatste) uitvoering van een werk van Loeffler bij het Concertgebouworkest. Alg. De Tijd, 22 februari 1926 (KB) Handelsblad, 20 februari 1926 (KB) verrassend voortreffelijk. Maar daarnaast Loeffler de noviteit. Een „Symphonische werd van het orkest buitengewoon veel Dichtung”, geïnspireerd op den tweeden verlangd en het ensemble was zoo schitte- zang – de „Toovenares” – van Vcrgilius’ rend als maar kan worden gewenscht. De achtste Ecloga, en geschreven voor groot- muzikale fantasie van Loeffler, het somwij- bezet orkest met obligaat-partijen voor len zeer pathetisch, dan weer mysterieus piano (mevrouw A. Mesritz-van Velthuy- bewogen verhaal van de Toovenares, kon sen), Engelsch hoorn en drie trompetten. moeilijk duidelijker worden gereprodu- Een werk van iemand die volkomen ceerd. thuis is in ’t moderne orkest. Die de klank- verhoudingen daarvan precies kent, en die De Telegraaf, 22 februari 1926 (KB) daarenboven voortreffelijk op de hoogte is Op dezen middag was „A Pagan Poem” van hetgeen de laatste periode der negen- van den Elzasser-Amerikaan Charles M. tiende eeuw aan kleur en geluid heeft weten

48