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Musical Courier 1891-06-03: Vol 22 Iss 589, 1891
128 lines. Read by computer on 19 September 2026. Printed page 579. See the scan on archive.org.
1istine who screams at you: "The subject must be moral." Out upon you! You hypocrites, who would have the human mind like a well-trained, neat little back garden without a vista, without atmosphere!
3And the critics get a mild drubbing, too: "The laws of beauty in art have been laid down by the most able critics and as many times have they been overturned by an artist who had the strength to make people see with his own eyes and hear with his own ears."
5"Still the critic who thinks he is infallible on the subject of beauty lives and continues to be the greatest enemy of the art and artist."
7Let us put that in our pipe and smoke it, particularly those among us who are apt to become petrified into any rut of thought.
9"To make sound itself stand as a symbol for matter and different tones for different bodies is entirely irrational. It could only be done by an entirely arbitrary agreement between composer and audience. It would impose on music the duty of language and hinder its own proper function. Even to make it the symbol for the molecular excitement of our nerves, which we call emotion, is impossible."
11I could go on much more, but I beg of my readers interested in the whys and wherefores of their art to carefully read Helen Sparmann, a woman with a big thinking apparatus and one who sensibly and modestly calls her effort "an attempt," &c. Quite a refreshing contrast to those overwhelmingly corpulent volumes on the "Beautiful in Art, the World and Sheol, or Why I Know It All," by Herr Engelebebert Umslopogaas.
13Under the goading prick of numerous letters from patriotic Americans I now warn my readers that hereafter my columns are to be largely devoted to the rampant expression of all that is good in national art. America for the Americans. Let the American composer come my way and if there is aught that is good in his portfolio the musical world shall know it, for I shall blow about it until the crack of doom.
15You see to-day that it is a case of "Hence, loathed melancholy!" The world is bright, beautiful, full of sound and color, and I have reached the somewhat trite conclusion that mental health is the result of physical health; so let us all be strong and happy.
17Away with the languorous vapors of Chopin! Ope the casement and let in the strong, fragrant breath from the pines of Grieg, the barbarous blasts of that Cossack, Tschaikowsky, or the maddening Bohemian draughts of Dvorak. (Don't fancy that when I say "Bohemian draughts" I mean Pilsener. I don't.) Waes Hael!
19Carreño, who has just been decorated by the King of Sweden, will play E. A. McDowell's second concerto at the Berlin Ton Künstler Verein's meeting this week. She is the most successful feminine pianist at present on the Continent, bar none.
21I was recently asked to decide the question of the three cities—New York, Boston or Philadelphia—which was the most representatively musical. Dropping Philadelphia entirely, for it is far behind Chicago, and even Brooklyn, I don't for a moment hesitate to answer: New York. Certainly Boston has the best orchestral organization; but can any city that has no opera be truly called a representatively musical city?
23I think not.
25I am glad to read that Otto Oesterle's good name has been vindicated by the apology that was made in the Chicago journal that first printed the miserable rumor. Oesterle, who is a good fellow in addition to being an excellent artist, has not only many warm friends here but also in Chicago; so the matter had gone far enough. But as the Chicago journal in question repudiates the authorship of the rumor, Mr. Oesterle naturally wishes to know who first started the lie.
27Is there anything funnier than a fat man playing a Mozart concerto on a hot day at a Music Teachers' Association meeting?
29That prince of good fellows and critics, Louis C. Elson, will soon publish some of his European adventures. It is spicy reading, you may be sure.
31At last I got from Henry Wolfsohn the list of the Italian artists for next season's opera. To my amazement there are some familiar names in the list, but so transfigured by Italianization as to seem unfamiliar.
33The list so far is as follows:
35SIGNORA LACTINA,
36(formerly known as Frau Milkey).
37SIGNOR DOPPIA,
38(Dippel, the herculean tenor).
40SIGNOR PESCATORE,
41(formerly Fischer, the sonorous).
42SIGNOR RICCOUMO,
43(Theodore Reichmann, the bold).
44SIGNORA GALLINA,
45(Lillie Layman).
46SIGNORA RITARDANDO-SCHERZO,
47(Ritter-Goetze).
49This company will be conducted by the well-known Milanese conductor from Buda-Pesth, Antonio Seidelio. Enrico Lupino will be the manager.
51The first opera produced will be, "Mafia il Vaselino de Riccolumo."
53A writer in a journal published at Namur, who evidently never heard of Beethoven, speaks of "a symphony in C minor by Von Beethoven, of a bizarre and rambling character, but dominated by a reminiscent theme."
55The following is from the Buffalo "News" and is decidedly apropos of the recent festival there.
57WHEN NIKISCH COMBS HIS HAIR.
58The skies will bluer arch above,
59The girls less timid stare,
60And music may have a stronger sway
61When Nikisch combs his hair.
62No more with thoughts of anarchy.
63He'll frighten the young and fair,
64And Johann Most will give up the ghost
65When Nikisch combs his hair.
66So hippety-hop to a barber shop
67And currycomb Nick with care,
68And nobody'll know he hoodooed the show,
69When Nikisch combs his hair.
70Then, Nick, if you can, like a comb-ly man,
71Get Pompadour Lund in chair,
72And men and ladies will yell like Hades,
73Wir Danken Ihnen, Lieber Herr.
75BUFFALO, May 21, 1891. HERR HAIR.
77There is a hitch I hear in the Gruenfeld negotiations and Mr. Keidel has gone to see the brilliant Viennese pianist. Well, the Knabes will have Eugen Testimonial d'Albert, and he is a team in himself—when it comes to writing his name.
79On dit that Mielke developed such a penchant for Theodor Reichmann at the Pittsburgh Festival that the tall baritone got frightened and stole away to Europe a day earlier than his fair admirer. Si tu Savais, Antonia.
81P. Sarsfield Gilmore, the only, opened his summer season at the Madison Square Garden last Saturday night. An immense throng was in attendance and listened to Campanini, Maud Powell, Anna Mantell and other artists.
83The garden was brilliantly illuminated by electricity and Jimmy Morrissey's smile. Everybody was there and as it was hot everybody was thirsty. Everybody drank and was happy, and the band played most emphatically.
85PERSONALS.
87JOHN MARQUARDT.—The subject of our sketch of this week was born at Esteburgge on October 16, 1859. He received his first musical instruction, both on the violin and the piano, from his father. After having finished his musical studies he became a violin maker and for four years gave himself up to the manufacture of string instruments, of which, for this reason, he has a more solid knowledge than a mere performer could possibly attain. During 1882-83 he was a pupil at the Berlin Royal High School of Music and was one of the favorites of both Joachim and Wirth. In 1884 he became a member of the celebrated Bilse Orchestra at Berlin, to which he belonged for a period of two years. Afterward he went with Hans Richter to London, where he appeared as soloist. He likewise was heard with much success in France and Germany. After this Marquardt came to the United States as solo violinist of the Mendelssohn Quintet Club, of Boston, and now he has joined forces in like capacity with the New York Philharmonic Club. Mr. Marquardt is a violinist of great technical as well as musical abilities and he excels equally in quartet and solo playing. The Philharmonic Club ought to be congratulated upon this valuable acquisition.
89MARY HOWE AT INDIANAPOLIS.—We acknowledge receipt of the following dispatch:
91Musical Courier, New York:
92Mary Howe has had immense success. Greatest in history of festivals here.
94INDIANAPOLIS, May 27, 1891.
95H. J.
97BEETHOVEN AUTOGRAPHS.—The continuation of the sale of autographs by Leo Liepmannssohn, of Berlin, took place there on the 21st ult. A letter of Beethoven, in which he offers the libretto and full score of his opera "Fidelio" to the intendant of the Court Opera House of Vienna for an "honorarium of 12 ducats in gold," fetched 62 1/2 marks (about $15.40), and the same small sum was realized for some autograph musical sketches by Beethoven.
99JENNIE DUTTON GOES TO EUROPE.—Miss Jennie Dutton, the well-known soprano, sails for Europe to-day. She will visit while abroad Paris, London and, of course, Bayreuth.
101NOT A LEATHER MEDAL.—The carillon player of the city of Ypres, in Eastern Flanders, has had the medal of the first class bestowed on him by royal decree. Such an official is not to be found in our land, but in Belgium every town has its set of bells and players thereon.
103DUPONT IN DEMAND.—The conductor of the Brussels Théâtre de la Monnaie, Jos. Dupont, is in much demand; he has been offered an appointment in South America, and another in Buda-Pest to direct the opera there. As the maestro has declined, Brussels will still enjoy the benefit of his services.
105WEINGARTNER'S DÉBUT.—"Lohengrin" was given at the Berlin Royal Opera House on the 22d ult. with new scenery and costumes. The occasion was Felix Weingartner's début at Berlin as an operatic conductor, and it turned out to be a pronounced success.
107MISS FAY TO BAYREUTH.—Miss Amy Fay leaves New York on June 6 on the Gascogne for Europe, chiefly to attend the Bayreuth performances. She will probably also visit Salzburg and take in the Mozart festival.
109EUGÈNE ORTOLAN.—The death is announced in Paris of Eugène Ortolan, diplomat and musical composer. He was born in Paris April 1, 1824. He obtained the second prize of musical composition at the institute in 1842, the grand Rome prize in 1847, and was admitted to practice as a lawyer in 1849. He composed the oratorio "Tobie;" the comic opera "Lisette," represented at the Théâtre Lyrique in 1855; the operette "La Momie de Roseovo," represented at the Bouffes Parisiens in 1857, and "L'Urne," with a libretto by Octave Feuillet and Jules Barbier, which is to be played at the Opéra Comique for the first time next season. He published in 1851 a valuable work on international law, "Des Moyens d'Acquérir le Domaine International." His diplomatic career, aided by the influence of his father, the celebrated jurist, Elzéar Ortolan, was begun as an attaché of the Ministry of Foreign Affairs and finished as a Minister Plenipotentiary. He was an officer of the Legion of Honor.
111TENOR SCOVEL'S LIBEL SUIT.—London, May 27, 1891.—The suit for libel of Edward Scovel, the tenor, against the "St. Stephen's Review" has been settled by the "Review" paying Scovel $1,500 and the costs of the suit and making an apology. On November 4 last it was announced that Scovel and his wife, formerly Miss Roosevelt, of New York, would bring an action for libel against the "St. Stephen's Review" for publishing an article in which it was suggested that the tenor had married Miss Roosevelt for her money and that the marriage was an unhappy one.
113PATTI.—Patti is in London in excellent health and spirits. She gave a great concert at Albert Hall Saturday afternoon. She has two new songs, one called "Only," by Gounod, and a vocal waltz called "Rosebuds," by Arditi. The event of the opera season was the appearance at Covent Garden last Saturday night of Van Dyck, the new Belgian tenor, as "Faust," in which rôle he completely captured Vienna.
115ASHFORTHS.—Mr. and Mrs. Arthur Ashforth sail for Europe, June 9, and will return in September. Mrs. Frida de Gebele Ashforth has had a very busy season, consequently her vacation is a well deserved one.
117MONTEGRIFFO'S SUCCESS.—The following excellent notices our American tenor can boast of during his European appearance:
119The outstanding feature of the performance was undoubtedly the splendid singing and acting of Montegriffo. The sweetness and power of his beautiful voice were more enjoyable than ever, and he showed all the art of an accomplished actor in an unusual degree. His accession to the Carl Rosa Company is a great element of strength.—Edinburgh "Scottish Leader," April 9, 1891.
121Purely traditional and of the true Italian school was the "Faust" of Montegriffo, a singer who has a voice of excellent quality and sings with the ease and confidence of an experienced artist. He caught the ear of the house at once and was soon established in high favor.—Glasgow "Herald," March 25, 1891.
123There is no doubt Montegriffo is now one of our foremost tenors. He has signed a three years' contract with Henry Wolfsohn, who has received already some very flattering offers for next season.
125A BEETHOVEN SINGER.—At a recent recital in Baltimore Miss Lena Stiebler, an alto singer occupying a prominent place among the musical people of that city, sang Beethoven's "Ah! Perfido" in such a scholarly manner as to call forth the most enthusiastic criticism. She is said to have given the song true interpretation.
127CALLED AND SAILED.—Mr. and Mrs. Arthur Nikisch, together with the amiable Louis Svecenski, of the Boston Symphony Orchestra, and Carl Wolfsohn, the Chicago pianist, sailed for Germany yesterday on the steamer Lahn.
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