German Verismo opera competition 1893

[Wheesht]

In an effort to promote German opera compositions in the verismo style, Ernst II, Duke of Saxe-Coburg & Gotha, initiated a competition for German one-act operas in 1893. Among the works sent in were operas by Franz Lehár (Rodrigo) and Leo Blech (Aglaja). Just two operas out of 124 manuscripts that had been sent in were awarded a prize, the first. It went jointly to Josef Forster (1838-1917) for 'Rose von Pontevedra' and Paul Umlauft (1853-1934) for 'Evanthia'.

A quick search for some music by at least one of the prize winners has led to this Notturno op. 4 No. 1 by Umlauft.

In an article in the 'Musikalisches Wochenblatt' of 29 June, 1893 the critic, publisher and composer Bohumil Pazdirek, writing as J. P. Gotthard, was highly critical of this competition, mainly, it would appear, for nationalistic reasons. The original German is here.

Translation:

Open discussion forum.
The final outcome of a German opera competition.
The latest German opera competition, initiated by the generosity of His Highness Duke Ernst
of Saxe-Coburg-Gotha, has inspired our contemporary generation of composers in Germany and Austria to produce exceptional works in the field of opera. and in view of the special interest which the high patron of the arts has shown in German musical literature by endowing a prize of considerable value, it was to be assumed that the composers would, without exception, feel themselves to be German artists and that the judges would therefore devote their attention exclusively to works which display German subject matter with German musical artistry and thoroughness.
The Italian and French opera propaganda, the former in particular, which is being pursued from Milan with success that is shameful for us Germans in our own country,  should obviously be combated at a time when, with its unprecedented successes, it has already spread far beyond the German borders on both sides, and one would think that there could be no more effective means of countering this blatant Young Italian opera invasion, which with particular fondness advocates adultery and betrayal through murder and manslaughter, than by taking the opposite approach: with examples of noble morals and customs!
The stage has the task of ennobling the audience through the presentation of dignified works of art, and must not and should not, through crude products of money-hungry makers that are in every respect devastating to morals and taste,  reveal what unfortunately happens enough in life anyway.
Mascagni's 'Cavalleria rusticana', in itself a work full of dramatic talent, has since its creation opened the floodgates to a deluge of sensationalist opera productions from Italy and therefore the noble initiative of the art-loving German prince had to be heartily welcomed by every like-minded person truly devoted to German art, as it had undoubtedly arisen from the conviction that it would offer German composers a welcome opportunity to document a contrary expression of their artistic tendencies.
The unrestrained addiction of French and Italian opera composers to material that excites the heart and mind should not have been met with the same response on the German side; the opposite should have been sought and it should have been expressly emphasised in the ducal competition announcement that material from the life and suffering of the German peoples should form the basis of the librettos, and that they should be considered without exception. The remark made, among other things, that the works to be submitted had to be original works was, as the final outcome of the competition showed, widely misunderstood. Thus, many composers used librettos based on famous ancient tales of German heroes, but for this reason, as we have learned from reliable sources, their operas were immediately rejected. On the other hand, works that conspicuously follow the well-known traces of 'Cavalleria' were considered. Forster's one-act opera 'Die Rose von Pontevedra', which had to share the prize with the opera by the Leipzig composer Paul Umlauft because no agreement could be reached on a single prize, is the most telling proof of our assertion, with the small difference that in the German
prize opera, the story of adultery and murder takes place among the peasant population on Spanish soil.
We had hoped for a German opera from the numerous entries and will now be regaled with a Spanish one. Yet many a score lay untouched in Coburg, which showed an eminently German tendency. It is puzzling that no representative of German artistic principles stood up for this unquestionable cause in the ducal commission!
When a Frenchman (see Massenet) bastardises a Goethe, the directors of German theatres are thrown into considerable turmoil and rush to present the foreign concoction to their audience as enthusiastically as possible. But if a German composer dares to produce a patriotic work of art, he is gently pushed aside.
We rightly fear that the noble intention of the art-loving Duke to bring a German opera from his circle into the light of day has been thoroughly thwarted by a position taken by the judges, which was not correctly understood in advance, and therefore express our lively regret, notwithstanding the fact that an Austrian composer is participating in the competition. There was no need for an act of opera tantamount to suicide, a so-called German 'Cavalleria'! J. P. G.

[Alan Howe]

Evidently verismo was considered beneath serious-minded German composers.

[eschiss1]

Actually, I don't think it should be hard to find music by the other winner. He was, iirc, the father of a better-known Czech composer (of German family, of course) who was friends with Mahler... if anything probably, I suspect, music by Josef Foerster will turn up and be misattributed to his son despite the fact that it was published before JB Foerster was even born.

Also, btw, Lehar was among Josef/Joseph Foerster's pupils

[Wheesht]

The Josef Forster who won this competition was not related to Joseph Foerster unless I am utterly mistaken. The spelling of his surname is without e.
His German and English wikipedia entries are very similar, but it is only the former that mentions that his c minor Symphony mostly received negative reviews.

[eschiss1]

Ah ok, Josef Foerster (father of JB Foerster)'s dates were 1833-1907 (and his father of the same name, 1804-1892). So when I see J. Förster/Foerster mentioned in HMB with publications (mostly church music and arrangements from operas, I think) with dates that are too early for JB Foerster, it's one of those two, not JB Foerster but also, yes, not this fellow- understood. That makes sense.

[4candles]

I'd be interested to know if the other competition entries are known and if there still exists a collection somewhere that might house them?

[Wheesht]

I'll write to the library at Coburg, they may know more. I found them very helpful when I contacted them about another matter a while back.

[Alan Howe]

Would d'Albert's Tiefland be an example of an almost-German verismo opera?

[Wheesht]

According to this entry on Verismo in the 'Oesterreichisches Musiklexikon' it would indeed – Tiefland is mentioned at the end of the second paragraph.

[Alan Howe]

I must dig out my copy and give it a listen...

[ewk]

I recall Tiefland being described as such in the booklet of my copy. I'd say this description is quite fitting.
But then, also Max Von Schillings' Mona Lisa was described as German Verismo -- as much as I like this opera, not quite what I feel is Verismo (maybe more because of the historical topic than because of the music) ...

[Wheesht]

The helpful librarian at the Coburg Library (Landsbibliothek) has replied saying that while a complete list of entries does not exist, one could possibly be reconstructed based on their manuscript collections. These include confirmations of receipt, short appraisals etc.
The Coburg State Archives also have materials, especially referring to the "Opernfest" that was apparently held in connection with the competition.

[Alan Howe]

That's a helpful response - thanks.

[4candles]

Thanks, Wheesht. I'll contact them for my own information and can share details here (if I get anywhere with it).

[4candles]

Wheesht / All – below is the response I have received this morning from the Coburg librarians:

Just because it would be possible to compile a (presumably incomplete) list of the Verismo Opera Competition based on the material doesn't mean we would do it. The actual work with the holdings is left to our users.

We can offer to digitize the manuscripts Ms. 299/2,1-51. This will take some time. You will then have to search for the call numbers individually in the catalog to view the digital copies. We will notify you as soon as everything is online. Would that be an option?

Digitizing means paying out for the privilege and I don't have the resources for that, but if anyone else here is interested, you could either let me know or I can put you in contact with the person I am currently dealing with.

4c