Scan 4
Musical Courier 1891-06-03: Vol 22 Iss 589, 1891
376 lines. Read by computer on 19 September 2026. Printed page 577. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1THE MUSICAL COURIER.
2—A WEEKLY PAPER—
3DEVOTED TO MUSIC AND THE MUSIC TRADES.
4ESTABLISHED JANUARY, 1880.
5No. 589.
6Subscription (including postage) invariably in advance.
7Yearly, $4.00; Foreign, $5.00; Single Copies, Ten Cents.
8RATES FOR ADVERTISING: SEE TRADE DEPARTMENT.
9All remittances for subscriptions or advertising must be made by check, draft or money order.
10NEW YORK, WEDNESDAY, JUNE 3, 1891.
11MARC A. BLUMENBERG. OTTO FLOERSHEIM.
12BLUMENBERG & FLOERSHEIM,
13Editors and Proprietors,
14JAMES G. HUNEKER, { ASSOCIATE EDITORS.
15HARRY O. BROWN.
16Offices: No. 25 East Fourteenth St., New York.
17WESTERN OFFICE: Chicago, John E. Hall, No. 233 State-st., Manager.
18GENERAL AGENCY FOR GERMANY:
19FRITZ SCHUBERTH, JR., 63 BRUDERSTRASSE, LEIPZIG.
20NOTICE.
21Electrotypes of the pictures of the following named artists will be sent, prepaid, to any address on receipt of four ($4) dollars for each.
22During eleven years these pictures have appeared in this paper, and their excellence has been universally commented upon. We have received numerous orders for electrotypes of the same, and publish the subjoined list for the purpose of facilitating a selection.
23Adelina Patti
24Ida Klein
25Sembrich
26Christine Nilsson
27Scalchi
28Trebelli
29Marie Roze
30Anna de Bellocca
31Etelka Gerster
32Nordoff
33Josephine Yorke
34Emilie Ambe
35Emma Thuraby
36Teresa Caracho
37Kellogg, Clara L.—2
38Minnie Hauk—2
39Materna
40Albani
41Anna Louise Cary
42Emily Winant
43Lena Little
44Murio-Celi
45Andrew Carnegie
46James T. Whelan.
47Eduard Strauss
48Elenor W. Everett
49Jeanette
50Marie Louise Dotti
51Marie Jahn
52Pursch-Madi—3
53Catherine Lewis
54Zelle de Lannoy
55Blanche Roosevelt
56Antonia Mielke
57Titus d'Ernesti
58Anna Herring-Hills
59Charles M. Smith
60Friedrich von Flotow
61Franz Lachner
62Heinrich Marchner
63Edmund C. Stanton
64Nestore Calvano
65William Courtney
66Josef Staudigl
67Luise Hahn
68Mrs. Minnie Richards
69Florence Clinton-Sutro
70Arthur Friedheim
71Clarence Eddy
72Frank Ahe
73Fannie Bloomfield
74S. E. Jacobsohn
75J. O. von Prochazka
76Edvard Grieg
77Adolf Henselt
78Eugen d'Albert
79Lilli Lehmann
80William Candidus
81Franz Kneisel
82Leandro Campanari
83Franz Ravel
84Blanche Stone-Barton
85Amy Sherwin
86Thomas Ryan
87Achille Ernani
88J. Jos. Zambach
89Henry Schradieck
90John F. Rhodes
91Wilhelm Gericke
92Frank Taff
93C. M. Von Weber
94Edward Fisher
95Kate Rolla
96Charles Schuh
97Harold Randolph
98Minnie V. Vandeveer
99Adele Aus der Ohe
100Karl Klinworth
101Edgar Kuhle
102Melen D. Campbell
103Alfredo Barilli
104Wm. R. Chapman
105Otto Roth
106Anna Carpenter
107W. L. Blumenschein
108Leonard Labatt
109Albert Venino
110Leopold Langer
111Max Bendix
112Helene von Doenhoff
113Adolf Jensen
114Hans Richter
115Harriet Reid
116Emil Fischer
117Merrill Hopkinson, MD
118R. S. Bondi
119Paderewski
120Stavenhagen
121Arrigo Boito
122Paul von Janko
123Carl Schroeder
124John Lund
125Edmund C. Stanton
126Heinrich Gudehus
127Charlotte Huhn
128Teresa Tua
129Lucca
130Ivan B. Morawski
131Leopold Winkler
132Costanzo Donita
133Carl Reiner
134Heinrich Vogel
135Johann Sebastian Bach
136Peter I. Schachowsky
137Julius Peletti—2
138Adolph M. Forrester
139J. H. Hahn
140Thomas Martin
141Louis Gaertner
142Louis J. Courtney
143Richard Wagner
144Theodore Thomas
145Dr. Damasch
146Campanini
147Julius von Bernuth
148Constantin Sternberg
149Dengremont
150Galassi
151Hans Balatka
152Mathilde Wurm
153Liberati
154Johann Strauss
155Anton Rubinstein
156Del Puente
157Joseffy
158Julius Rietz
159Max Heinrich
160A. L. B. B.
161Ovide Musin
162Anton Udvardi
163Alcuin Blum
164Joseph Koessler
165Ferdinand Hiller
166Robert Volkmann
167Julius Rietz
168Max Heinrich
169A. L. B. B.
170Ovide Musin
171Anton Udvardi
172Alcuin Blum
173Joseph Koessler
174Ferdinand Hiller
175Robert Volkmann
176Van Zandt
177W. Edward Heimendahl
178Mrs. Clemelli
179Albert M. Bubby
180W. W. Lauder
181Mrs. W. Waugh Lauder
182Mendelssohn
183Hans von Hillow
184Clara Schumann
185Joachim
186Samuel S. Sanford
187Franz Liszt
188Christine Dossert
189Diana Hennings
190A. A. Stanley
191Ernst Catzenhues
192Heinrich Hofmann
193Charles Fiedel
194Emil Sauer
195Jesse Bartlett Davis
196Willis H. Higley
197August Hylested
198Gustav Hinrichs
199Xaver Schwarwenka
200Heinrich Boettel
201W. E. Hahn
202Carl E. Martin
203Jennie Dutton
204Walter T. Hall
205Conrad Ansorge
206Carl Bamberger
207Emil Steger
208Paul Kalisch
209Lou Szwarczki
210Henry Holden Huss
211Neally Stevens
212Mamie Kunkel
213Dyas Flanagan
214A. Victor Beeman
215Mrs. M. M. Carl Hild
216Anthony Stanislawitch
217Moriz Rosenthal
218Victor Herbert
219Martin Roeder
220Joachim Raff
221Felix Mottil
222Augusta Ohrstrom
223Mamie Kunkel
224Dr. F. T. H.
225C. F. Chickerling
226Villiers Stanford
227Louis C. Elson
228Anna Maryle-Burch
229Mr. and Mrs. 'Ives
230Ritter-Goetz
231Adele Lewing
232Pauline Scheller-Haag
233Marchesi
234Henry Mason
235P. S. Gilmore
236Neupert
237Hubert de Blanck
238Dr. Louis Maas
239Max Bruch
240L. G. Gottschalk
241Antoine de Kontski
242S. R. E.
243E. M. Bowman
244Otto Bendix
245W. H. Sherwood
246Stagno
247Victor Nessler
248Johanna Cohen
249Theodore F. Tretbar
250Jennifer Dickinson
251E. A. MacDowell
252Theodore Reichmann
253Max Treuman
254A. C. Capra
255Montefufo
256Mrs. Helen Ames
257S. G. Pratt
258Emil Scaria
259Hermann Winkelmann
260Donizetti
261William W. Gilchrist
262Ferranti
263Johnnie Brahms
264Meyerbeer
265Moritz Moszkowski
266Anna Louise Tanner
267Filippo Gulco
268Friedrich Junk
269Fannie Hirsch
270Michael Banner
271Dr. S. N. Penfield
272F. W. H. Schuberg
273Emil Mahr
274Otto Sutro
275Carl Faletti
276Beeth Cole
277Carl Mockrock
278G. W. Hunt
279Georges Bizet
280John A. Brockhoven
281Edgar H. Sherwood
282Ponchielli
283Edith Edwards
284Carrie Hun-King
285L'Allemiad
286Verdi
287Hummel Monument
288Berlioz Monument
289Haydn Monument
290Johann Strauss Orchestra
291Anton Dvorak
292Saint-Saens
293Pablo de Sarasate
294Jules Jordan
295Albert R. Parsons
296Ther' Herbert-Foerster
297Berthold Pierson
298Carlos Montoro
299George M. Nowell
300William Mason
301Pasdeloup
302Anna Lankow
303Maud Powell
304Max Alvary
305Josef Hofmann
306Hindel
307Hermann Ebeling
308Anton Bruckner
309Gustav A. Kerker
310Henry Duzensi
311Emma Juch
312Fritz Gese
313Anton Seidl
314Max Leckner
315Max Spelter
316Judith Graves
317Hermann Ebeling
318Anton Bruckner
319Mary Howe
320Arthur Clive
321Mr. and Mrs. Lawton
322Fritz Kreisler
323Madge Wickham
324Richard Busmeister
325W. J. L. Levin
326Niels W. Gade
327Hermann Levi
328Edward Childfield
329James H. Howe
330George H. Chickerling
331John C. Fillmore
332Helene C. Livingstone
333J. J. Zimieliski
334Frank Wilczek
335Alfred Sormann
336Juan Luria
337Carl Busch.
338A T last "Lohengrin" will be heard in Paris at the Grand Opera House, the Minister of Fine Arts having given his consent. Paris has discovered that Wagner's music is very fin de siècle (odious expression !), consequently Paris must hear Wagner.
339It is a signal victory for Wagnerism.
340conclude that some of the better ideas in Itzel's score were probably prompted by Mr. Fulton, a gentleman who is among the last in the world to sound his own praise.
341MR. EDISON'S latest invention is a startling one. It is called the kinetograph, and is nothing more than a photographic camera arranged to do new work. It does for the eye what the phonograph does for the ear.
342Mr. Edison spoke about it in a recent interview published in the New York "Sun: "
343"I have a machine projected, but the details are not projected yet. My intention is to have such a happy combination of electricity and photography that a man can sit in his own parlor and see reproduced on a screen the forms of the players in an opera produced on a distant stage, and, as he sees their movements, he will hear the sound of their voices as they talk or sing or laugh. When the machine is perfected, which it will be long before it can be exhibited at the fair, each little muscle of the singer's face will be seen to work, his facial expression with its every change will be exactly reproduced, and the stride and positions will be natural and will vary as do those of the person himself."
344"How do you expect to do all that, Mr. Edison?"
345"If it is desired to reproduce an opera or a play I will get the company to give a dress rehearsal for me. I place back of the orchestra on a table a compound machine consisting of a phonograph and a kinetograph, with a capacity of thirty minutes' continuous work. The orchestra plays, the curtain rises and the opera begins. Both machines work simultaneously, one recording sound and the other taking photographs, recording motion at the rate of forty-six photographs per second. Afterward the photographic strip is developed and replaced in the machine, a projecting lens is substituted for the photographic lens and the reproducing part of the phonograph is adjusted. Then, by means of a calcium light, the effect is reproduced life size on a white curtain, reproducing to the audience the original scene with all its sounds and all the motions of the actors exactly as in the original scene."
346Verily the age of miracles has not gone by!
347A CIRCULAR has been going the rounds recently relative to a position in California which may pay $1,500 per annum. The following questions must be answered by the poor unfortunate who applies for the extremely affluent post:
348Requirements: Applicant must be able to teach advanced piano and vocal pupils and also instruct classes in harmony. Thorough professional training and pedagogical skill essential. You should write concisely on the following points:
3491. Where did you receive your musical education? Give full particulars.
3502. Taught how long and where?
3513. What testimonials and references have you in support of your claim for success as a teacher?
3524. (a) Nationality? (b) Religion?
3535. Married? If so, how many children?
3546. Give your age and state of health.
3557. Have you ever played before large audiences?
3568. Mention the names of some of your best repertoire pieces.
3579. What recognition have you received from the press and leading musicians?
35810. Have you had any experience in teaching choral classes?
35911. What piano and singing methods would you use in preference to any other?
36012. Have you used the Virgil practice clavier and what do you think of it?
36113. Have you published compositions of your own?
36214. Are you a good prima vista player and have you had experience in score playing and transposing at sight?
36315. Give three or more names of people who know most of your habits, character, scholarship and teaching ability and to whom you are willing I should write.
36417. Can you forward photograph of yourself?
36517. Have you a piano of your own that you could eventually bring along?
366Applicant should have not less than $500 cash money at his disposal after reaching California.
367Please to include sufficient postage to pay for return of testimonials and other valuable papers. Add 10 cents extra in case you want the papers returned by registered mail.
368References exchanged.
369Answer in German, English or French, and address, ——.
370To answer in detail the above extraordinary list is worth the year's salary advertised. "Have you the crimson spectacles of your sister-in-law?" "No, but I have the blue melodeon of my divorced wife's uncle."
371THE "Times" last Sunday thus holds forth on the recently published financial statement of the Metropolitan Opera House, comment on which was made in the last issue of this journal.
372The "Times" says:
373When we ventured to assert that the production of such indescribable rubbish as "Diana of Solange" was not to be laid at Mr. Stanton's door a correspondent poured out vials of wrath. Yet now it appears that the dissatisfied stockholders who are justly attributing the financial unhappiness to the production of "Asrael," "The Vassal of Szigeth" and "Diana of Solange" are declaring that the management of the Opera House has been left too much in the hands of one or two directors. Now, Mr. Stanton is not a director. The members of the amusement committee are, and one of those members practically controlled the committee's action last season.
374No one, except those who always strive to prove that Wagner spells ruin, denies that the unfortunate novelties were at the bottom of the season's deficit. Those newspapers which are now engaged in asserting that the financial statement is proof positive of the unpopularity of German opera are deliberately ignoring the table of receipts which they themselves published at the close of the season. That table demonstrated effectively that the works which failed to draw money were certainly not the Wagner dramas, but the new things.
375It appears now that German opera cost more last season than it ever did before, and that is one of the reasons of the increased deficit. Now,
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