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Musical Courier 1891-02-18: Vol 22 Iss 574, 1891
82 lines. Read by computer on 20 September 2026. Printed page 151. See the scan on archive.org.
1quickly declined. The next thing we heard of him was to the effect that he had made Berlin his headquarters and was interesting himself in the American musical colony in that city, devoting much time to young American lady students whom he desired to advance for a consideration.
3Seifert is a talented musician, good violinist and well educated, but absolutely and defiantly unscrupulous. In fact he never hesitates to glorify the gospel of sin, and, as is usual with such scoundrels, points with pride to his conquests, his escapades and his adventures. Now that he is at last caged for two years we are safe for that period of time. At the expiration of his service to the German Government the good people of this patient nation will probably enjoy his society again, unless Congress shall do something to prohibit the importation of such articles as this fellow Seifert.
5The musical community has suffered considerably from the acts of such individuals, and no class of people would be more grateful for some limitation to the entry here of such imported scoundrels than the musical class here generally. The respected and respectable music teacher and musician suffers from the conduct of these libertines, for the world is quick to say, "Oh, yes; he is a musician."
7THE MUSIC CLUB.
9EVERYONE interested in the proposed music club to be organized for social purposes, and in order to bring about closer and more intimate relations between the members of the musical community of this city and vicinity, is requested to meet in conference a number of musical people at 8 o'clock on to-morrow (Thursday) night in the parlor of the Union Square Hotel. Professional musicians, amateurs, musical managers, critics and newspaper men, in fact all persons interested objectively and subjectively in music are requested to be present, provided, of course, they favor the establishment of the Music Club of New York.
11WE read in one of our Berlin exchanges that the one hundredth anniversary of the birth of Meyerbeer on September 5, 1891, is to be commemorated at the Berlin Royal Opera House by order of Count Hochberg through the performance of a cycle of his best known operas. In this connection we should like to quote one of our English contemporaries on the subject of a much more important anniversary:
13Something should come of the movement to signalize, in a special manner, the centenary of Mozart's death next December. It is certainly desirable at the present time to lose no opportunity of paying homage to a man in whom dwelt the soul of music, and who was master alike of its spirit and its forms.
15Apropos of the Berlin Mozart monument question the committee of which Joachim is the president at its last meeting concluded to honor Beethoven and Haydn's memory in the same manner, and statues of these three giants among German composers will be placed in the Tiergarten as soon as the necessary funds for their erection shall have been gathered together.
17IT WAS THE EUPHONIUM.—The London "Daily Telegraph" is responsible for the following: "During the dense fog on Saturday night a young German musician, who was very drunk and disorderly at the time, annoyed the inhabitants of Aldgate by persistently blowing some fearsome instrument which neither the bystanders nor the policemen could describe. One said it was a sort of a cross between a beer barrel and a coffee pot—whatever the product of such a union might be—and the only elucidation another could offer was that the noise it gave forth was 'enough to make a Quaker kick his mother-in-law'—a fearful aberration into the land of metaphor which can only be excused by the fact that the strains were so hideous as to drive the listeners into incoherent anger. Alderman Sir Andrew Lusk, before whom the offender was brought at the Mansion House, inquired whether it might not be a bassoon, or a serpent, but all the constable, careful of his oath, could venture to affirm was that it was 'a great big hollow thing.' Was there no one to suggest that after all it was only a foghorn? The alderman was in a lenient mood, and, after most properly insisting that all persons in this realm, whether English or foreign, must obey the law, let the foolish young Deutscher off with a caution." One would think that half a century of German bands had familiarized London policemen with the appearance, sound and name of that instrument—we admit that it is one of torture—called an euphonium. But this ignorance is by no means uncommon. There are comparatively few amateurs of music who know even the names of all the instruments commonly used in the orchestra.
19An Amendment to Destiny.
21"She would have made Hercules have turned spit; yea, and have cleft his club to make the fire, too."—BENEDICK, IN "MUCH ADO."
23WHEN Prof. Titus P. Hollingsworth, whilom president of the Marsyas College of Musical Art, entered upon his humble duties as manager of the "Faubourg Millinery Emporium," and the proprietress of the latter concern quietly took his abandoned position in the college, there were a few who expressed horror at what they regarded as a double act of lunacy. The great majority, however, of those who knew the facts of the strange case were inclined to indulge in ribald glee over its final outcome.
25It was generally said to be an interesting example of amended destiny.
27What occult connection is there between music and millinery? Who could have dreamed that this famous artist, composer and instructor would come to change places with the shrewd maker and seller of feminine head gear? She was not musical in either taste or education. It was generally believed that she did not know one note from another, and that she could not distinguish Wagner from Donizetti. On the other hand it is safe to say that he had thus far in his life paid less attention to bonnets and other millinery than the average unappreciative man. Nevertheless, change places they certainly did, and by a process so easy and natural that one might even be surprised that it had not been expected and foretold.
29To develop this process it is necessary that we should begin back about five years. By virtue of his fame the professor should be considered first.
31At the age of forty Titus P. Hollingsworth had apparently good cause to be satisfied with himself—and he was well satisfied. Of his talent as a musician—some people and himself regarded it as genius—there could be no doubt; he was industrious and determined, and these qualities, together with an unselfish devotion to people of wealth, had given him a place in life where he was marked out for the admiration of the public and the envy of his fellow professionals. No one knew anything about his origin. He may have had parents and brothers and sisters, but he never mentioned them, for a man who wishes to get ahead in the world must draw the line somewhere. His musical education, which was undoubtedly of a superior order, had been acquired in Europe, by what means or makeshifts he alone knew. On his return to America he took up his residence in a large Western city and began to give instruction on the piano. He soon became popular and was successful.
33He wrote music, and in course of time came to be known and spoken of as a composer. For his model he selected the great man of whom a certain American humorist has said that his music is really better than it sounds. The professor's work was a skillful parody upon that which emanated from Bayreuth—a mixture of oddity and dullness which his admirers made out to be full of originality and power. He presently had about him a considerable circle who believed his compositions to be a veritable part of the "Music of the Future."
35It was easier to believe in his music than in him. He let his hair grow down to his coat collar and combed it straight back, as did Liszt. It was curly, and he rejoiced to stand where many eyes could observe him, and toss it up in his fingers. He cultivated certain peculiarities of dress and conduct—such as he thought became true genius—and his talk was largely of himself and his compositions.
37There was a story told to illustrate his opinion of himself, which, even at the risk of rambling, it were well to relate. It was said that shortly after Hollingsworth became president of the Marsyas College he went to Europe for the express purpose of meeting Wagner. He presented himself at the great composer's home, whither copies of all his musical productions and of newspapers containing an account of their rendition had preceded him—sent, of course, by his own hand. Thus Mr. Wagner was not unprepared. When the visitor announced his identity the author of "Lohengrin" held out his hand and said, with an unwonted display of good humor:
39"My dear sir, I am pleased to meet you. I have observed your work with a great deal of interest. I may say to you, sir, that I look upon you as the Wagner of America."
41Thereupon the other bowed a little stiffly and answered:
43"I, too, sir, am pleased to meet you. I have studied your work with much interest. For some time past I have looked upon you as the Titus P. Hollingsworth of Europe."
45There were many who declared this anecdote to be the deliberate invention of some wag who did not appreciate Hollingsworth's music. Others said it was so good that it ought to be true.
47The story of Mrs. Maria Murken, who owned and kept the "Faubourg Millinery Emporium," is briefer. She was the daughter of a carpenter and received a common school education. At the age of twenty she married, and two years later was a widow, dependent upon her own exertions for her support. The bonnet maker's art attracted her and she began work in it. A few years later she was the proprietor of a small shop and had developed into a business woman of no small talent.
49This small shop, in due course of time, became the "Faubourg Emporium"—a concern which occupied in the domain of bonnets a position as exalted as that held by the Marsyas College in the field of musical art. Its owner, Mrs. Murken, was said to be worth—exclusive of the "Emporium," with its stock and fixtures—the sum of $30,000.
51"You really ought to retire from business, Mrs. Murken," her friends began to say to her; and a number of men suggested partnerships more or less complete. But she sturdily declined either to give up business or to complicate it by matrimony. However, she transferred as much as possible of the care and responsibility to other hands, and made use of the leisure thus secured for the bettering of her mind and of her social position.
53People of such prominence in their respective lines as she and Professor Hollingsworth could not long remain unknown to one another. She heard her customers speak of the Marsyas College and of him, and he heard his pupils talk of the "Faubourg" and of her. Then she heard him play at a concert, and listened to some of his music rendered by a large orchestra. About the same time she was pointed out to him, and he learned all about the $30,000. The next thing was that they met at some reception to which he went as a matter of course and she as a grand event. Then they met frequently and—
55Then they were married.
57Society was a little annoyed, because it could scarcely decide whether it ought to laugh or not. The feeling was general that there was a joke somewhere, but no one could tell at whose expense it was. If anyone ventured to snicker over the fact that the great American composer had married a maker of bonnets, he was immediately reminded that she had $30,000 and the "Emporium," whereas the professor, having systematically squandered all his earnings in getting his music published, was forever in search of a tailor to trust him. Contrariwise, when those who had a poor opinion of the composer expressed their sympathy for the milliner they were promptly snubbed by the statement that all she desired was social recognition, of which he had plenty enough for two.
59Taking into view only the worldly matters involved, the marriage might have been called a tie; but as regards the tender passion it was a mésalliance. The milliner loved and admired the musician; the musician loved and admired the $30,000.
61I suppose no woman who ever married, not even the anonymous beggar maiden who captured the affections of King Cophetua, was better satisfied with her matrimonial achievement than was Mrs. Murken when she became Mrs. Hollingsworth. That she, a plain, working and business woman (for she was as modest in her opinion of herself as he was the reverse), should be the wife of this resplendent genius, about whose Apollo-like head there flashed the brilliant halo of fame! It was too much for her to believe all at once.
63However, she soon became used to it, and, being a woman of good sense, went about to adapt herself to her new position.
65"My dear Maria," said Titus P., at the beginning of their second week of wedded life, "you really ought to dispose of that millinery store. Convert it into cash—that's my idea."
67But Mrs. Hollingsworth had a better plan. She leased the "Emporium," with its fixtures and good will, to the chief of her aids. This left the former milliner plenty of time to devote to her new interests, and she took hold of them with characteristic energy. Her husband's inner life, the mysterious workings of his heaven born genius, she felt that it was not for her to understand or to take part in; but there were plenty of plain matters of business connected with the college and with the publishing of his compositions to which her attention might be devoted with more tact. She managed in a short space of time to get a clear insight into affairs, without exciting either resentment or derision on the part of those with whom she came in contact.
69One day she said to her husband: "Titus, do you think I could be taught to play?"
71"Play—what?" he exclaimed.
73"Why, the piano—or some other musical instrument."
75He glanced with a smile that was little less than a sneer at her hands—the joints large and the fingers stiff from the toilsome years of her early life—and he replied: "No, my dear; it is quite impossible."
77As the idea seemed very funny to him, she laughed, too. However, it happened soon afterward that she came into the class room, where an elementary lesson in harmony was in progress. It then occurred to her that there might be a theory of music distinct from its practice, and she began its study forthwith. The lessons were given in secret, and the teacher, whose sympathies were aroused by the woman's perseverance and industry, combined with the work some study of the styles of different composers and of the history of music.
79In the meantime, the designs of Titus P. Hollingsworth on the $30,000 gathered force and direction.
81Besides his symphonies, oratorios, overtures, &c., the disciple of Wagner was the author of several complete operas, all modeled on the lines of the "Music of the Future."
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