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5418474_7_0677.xml
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5418474_7_0677.xml
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<bibl><title>Abendpost</title>,
<date when="1924-06-13">June 13, 1924</date>.
<title level="a">The Second Day of the Saengerfest</title><title level="a" type="sub">Giant Hall of the Coliseum Occupied to Last Seat at First Bund Concert Yesterday Evening</title></bibl>
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<publisher>The Newberry Library</publisher>
<pubPlace>Chicago, Illinois</pubPlace>
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<note>Transcribed from digital images contributed to the Internet
Archive by the University of Illinois at Urbana-Champaign.</note>
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<bibl><title>Abendpost</title>,
<date when="1924-06-13">June 13, 1924</date>.
<title level="a">THE SECOND DAY OF THE SAENGERFEST</title><title level="a" type="sub">Giant Hall of The Coliseum Occupied to Last Seat at First Bund Concert Yesterday Evening</title></bibl>
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<p>The second day of the great Saengerfest of the North American Saengerbund has passed. In its shining march of conquest, the German lied conquered the hearts of all the many thousands that at yesterday's concerts filled the large Coliseum to its utmost capacity.</p>
<p>[The crowds were tremendous], and the achievements of the conductors, the choruses, the soloists, and the orchestra were likewise tremendous. The program of music heard at the individual concerts was absolutely first-class, and it is well-nigh impossible to single out any one of the many performances as especially outstanding. And so great was the throng of friends and lovers of the majestic German lied that at yesterday's evening concert hundreds of people listened to the entrancing melodies while standing in the street in front of the Coliseum, since no room could be found for them in the hall.</p>
<pb facs="5418474_7_0678.jpg" n="2"/>
<p>The first afternoon concert, held yesterday, proved to be a musical event of the highest order, as magnificent as it was enjoyable. The occasion was attended by a great and mighty throng of listeners, who, enchanted by the inspiring beauty of the performance, surrendered completely to the magic spell of the music. This concert, too,....was a shining triumph for the German lied and German music. Tumultuous applause greeted each of the many numbers on the extraordinarily full-bodied and splendidly arranged program.</p>
<p>The concert was opened with a magnificent performance by the Chicago Symphony Orchestra, under the consummate direction of Maestro Frederick Stock, of the overture to the opera "Euryanthe," regarded by many as Weber's best and most successful composition. Here, as well as in the distinguished performance of two movements from Schumann's "Rhenish" Symphony in E-flat and in the playing of the "Hungarian Dances," Mrs. 17-21, of Brahms Dvorak, Dr. Stock again demonstrated that he is a superb master in the field of orchestra conducting-- <pb facs="5418474_7_0679.jpg" n="3"/>a master who, with his artist-players, knows how to achieve the great and the sublime in a manner which is at once great and sublime.</p>
<p>During the afternoon concert, Wilhelm Boeppler, the highly gifted chorus director, led the Saengerfest Mixed Chorus in performances of Beethoven's "Die Ehre Gottes;" "Beautiful Savior," by F. Melius Christiansen; and the old familiar "In einem kuhlen Grunde," by Friedrich Glueck. Under Herr Boeppler's direction and with the employment to best advantage of all the registers of the mighty chorus, each of these numbers proved to be a magnificent achievement of the very highest order.</p>
<p>Kathryn Meisle of the Chicago Grand Opera Company was the soloist in the melodious "Beautiful Savior," and discharged her by no means simple task with consummate skill and astonishing ease. Previously, she had been heard with orchestra accompaniment in two Schubert lieder, "An die Musik" and "Allmacht," and had earned enthusiastic applause for the graceful and very pleasing style in which she offered them.</p>
<pb facs="5418474_7_0680.jpg" n="4"/>
<p>Another first-class soloist to appear on the afternoon program was Alexander Kipnis, who on the preceding evening had already sung his way deep into the hearts of the audience and festival participants by his superb rendition of "Wotan's Farewell". This time he offered "In diesen heil'gen Hallen," from Mozart's "The Magic Flute"; "Blick ich umher," from Wagner's "Tannhaeuser"; and as an enthusiastically demanded encore, Schubert's "Der Wanderer" ("Ich komme vom Gebirge her"). Nothing better or more beautiful has been heard in Chicago for a long time.</p>
<p>Naturally enough, the appearance of the Vereinigte Maennerchoere of St. Louis under their director, Hugo Anschuetz, was awaited with especial interest. And those who had looked forward to a treat of longlasting effect were in no wise disappointed. Herr Anschuetz has his singers firmly and securely in hand and is eminently capable of scaling the steep heights of genuine art with the first-class material at his disposal. Under his direction, both E. Koellner's "Das ewige Lied" and C. Attenhofer's "Dort liegt die Heimat mir am Rhein" were presented by the bards of St. Louis in truly masterful <pb facs="5418474_7_0681.jpg" n="5"/>fashion.</p>
<p>For those who were present, the entire afternoon concert was a succession of precious delights, which....will linger and echo in joyful memory for a long, long time.</p>
<p>The Evening Concert</p>
<p>At yesterday's evening concert of the North American Saengerbund, the spacious Coliseum was filled to the last seat. Nearly four thousand singers of the [North American Saenger-] Bund and the Northwest Saengerbund were massed on the large platform and the gallery just above it.</p>
<p>The Chicago Symphony Orchestra, directed by Frederick Stock, fittingly opened the concert with the playing of the overture, "Liebesfruehling," by Georg Schumann. Then the great Bund Chorus sang the majestic old--but ever new--lied "Das ist der Tag des Herrn," by Kreutzer. Like the roaring of a storm, <pb facs="5418474_7_0682.jpg" n="6"/>the mighty chords of this noble singers' prayer resounded heavenward; the mighty audience, carried away by the supreme power of the German lied, listened enthralled. And storms of applause, which would not cease, rewarded the talented director, Karl Reckzeh, and all his fine singers for the painstaking effort it must certainly have required in order to present such a simple lied with such captivating beauty.</p>
<p>Under the direction of the gifted conductor H. A. Rehberg, the Massed Maennerchor, a cappella, sang the Franz Abt lied "Die Abendglocken rufen". In melodies of splendid coloring, Rehberg and his singers interpreted the peaceful mood of this touching lied: from the direction of the village, the last sounds of the Angelus-bell softly fade away; as the sun slowly sinks in the fiery red evening sky, the weary plowman lifts his eyes in reverence toward heaven and thanks the Creator for a happily ended day. Keeping the mighty mass of singers skilfully in hand, the conductor achieved skilfully executed tonal effects of amazing purity. The applause bestowed upon him and his singers came straight from the overflowing hearts of the many thousands <pb facs="5418474_7_0683.jpg" n="7"/>present.</p>
<p>Having shown last night that she is a superb wagnerian singer, Marie Sundelius today brought proof that she is also no stranger to the concert stage. She sang the three Strauss lieder "Allerseelen," Morgen," and "Staendchen" with a feeling for these modern little tone poems that was surprisingly keen and profound for an opera singer. Free of all stage mimicry and of any striving after effect, her rendition of these songs was a finely chiseled work of art--the art of a musical goldsmith. Her performance truly earned the ample applause that would not cease. She is undoubtedly one of the first stars in the American musical sky. As an encore she sang Grieg's stirring "Solvejgs Lied".</p>
<p>The old Scotch folk song "Annie Laurie," arranged for male chorus and dedicated to the Saengerbund by J. P. Frenzel, was sung a cappella by the Massed Maennerchor under the direction of Karl Reckzeh. In spite of--or perhaps because of--its simplicity, this song produces an effect of sheer beauty and harmonic purity. With a sure hand, Herr Reckzeh led his singers to triumph, and the <pb facs="5418474_7_0684.jpg" n="8"/>audience was not stingy with its applause. With his arrangement of this little song for male chorus, Herr Frenzel has presented this genre of music with a new pearl. Much of the applause was intended for him as well.</p>
<p>The Chicago Symphony Orchestra then played the Scherzo and Romanza from Dohnanyi's "Suite for Orchestra", opus 19 [the Abendpost incorrectly writes "opus 33"], with the unsurpassable mastery for which the orchestra and its conductor are famous.</p>
<p>One of the outstanding successes of the evening was "Die Macht der Musik," a work for chorus, solo, and orchestra, which was sung by the Massed Maennerchor and Marie Sundelius, under the direction of Karl Reckzeh. "The Power of Music" is the title of this beautiful lied by Morning, and powerful indeed is music, powerful indeed the German art-song. After a brief introduction by the orchestra, the mighty chords of the massed chorus began to ring out; with bell-like clarity, the solo of Marie Sundelius could be heard in all its harmonic purity. From a thousand voices resounded the words: "Musik, du maechtige, von dir <pb facs="5418474_7_0685.jpg" n="9"/>verschwindet der armen Sprache ausdruckvollstes Wort." And feeble indeed are words of praise in the presence of the supreme power of this majestic song.</p>
<p>After having achieved a great success in the afternoon concert, Miss Kathryn Meisle, alto of the Chicago Opera Company, won the tumultuous applause of the enthusiastic audience at the evening concert with her rendition of "Ach, mein Sohn" from Meyerbeer's "The Prophet". In spite of the demands made upon it in the afternoon, her voice showed no trace of fatigue. The intonation was full and well-rounded, and the beloved artist earned new laurels. She acknowledged the ample applause by singing, as an encore, "Nur wer die Sehnsucht kennt."</p>
<p>The lied "Mein Herz ist im Hochland," set to music by Ignaz Heim, was presented by the Massed Maennerchor under Reckzeh's direction with the perfect beauty that characterized all of the lieder sung by this chorus. [Translator's note: No mention is made here of the scheduled performance by the Massed Maennerchor of Wohlgemuth's "Wie's daheim war".] The Chicago Symphony Orchestra then played <pb facs="5418474_7_0686.jpg" n="10"/>Glazunov's "Valse de Concert in F Major".</p>
<p>Simple and unpretentious, yet appealing and heart-rending is the lied "Altniederlaendisches Dankgebet," so eminently suitable for bringing a concert to a close. The massed chorus under Rehberg's direction once again permitted its mighty voices, with all their beauty and power, to cast their spell over the gathering. Words of praise were heard from a thousand throats: praise to the Creator for the beautiful gift of noble song, praise for the all-supreme German lied, which bestows unity and peace upon all those who listen to its harmonies.</p>
<p>The National Saengervolksfest</p>
<p>Tomorrow (Saturday) at 1: P.M. the great Saengervolksfest will be held at Riverview Picnic Grove. To judge from the preparations made by the committee of approximately thirty singers, this will be a festival than which no greater or more beautiful has ever been celebrated in Chicago.</p>
<pb facs="5418474_7_0687.jpg" n="11"/>
<p>Together with their friends, many thousands of singers from all parts of the country will gather here at the conclusion of the concerts to pledge themselves to further effort in behalf of the German lied, and thus to take their stand for peace and friendship.</p>
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