Scan 4
Musical Courier 1891-08-19: Vol 23 Iss 600, 1891
401 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 177. 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. 600.
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, AUGUST 19, 1891.
11MARC A. BLUMENBERG. OTTO FLOERSHEIM.
12BLUMENBERG & FLOERSHEIM,
13Editors and Proprietors,
14JAMES G. HUNEKER, HARRY O. BROWN, ASSOCIATE EDITORS.
15Offices: No. 25 East Fourteenth St., New York.
16WESTERN OFFICE: Chicago, John E. Hall, No. 233 State-st., Manager.
17GENERAL AGENCY FOR GERMANY:
18FRITZ SCHUBERTH, JR., 63 BRÜDERSTRASSE, LEIPZIG.
19NOTICE.
20Electrotyes of the pictures of the following named artists will be sent, prepaid, to any address on receipt of four (4) dollars for each.
21During more than eleven years these pictures have appeared in this paper, and their excellence has been universally commented upon. We have received numerous orders for electrotyes of the same, and publish the subjoined list for the purpose of facilitating a selection.
22Adelina Patti
23Ida Klein
24Sembrich
25Christine Nilsson
26Scalchi
27Tribelli
28Marie Roze
29Anna de Bellocca
30Etelka Gerster
31Nordica
32Jasmine Yorke
33Emile Ambre
34Emma Thursby
35Teresa Carlelli one of two readings
36Teresa Carleto one of two readings
37Kellogg, Clara L.—9
38Minnie Haul—2
39Materna
40Albani
41Annie Louise Cary
42Elsa Wiant
43Lena Little
44Murio-Celli
45Andrew Carnegie
46James W. Welch
47Edward Sturges one of two readings
48Edward Strusse one of two readings
49Elsor W. Everest
50Jenny Broch
51Marie Louise Dotti
52Maria Jahn
53Panch-Kadi—9 one of two readings
54Pusch-Kadi—9 one of two readings
55John Marquardt
56Zélie de Lussan
57Blanche Roosevelt
58Antonia Nielke
59Titus & Ernest
60Anna Bulkeley-Hills
61Charles M. Schmitz
62Friedrich von Flotow
63Franz Lachner
64Heinrich Marschner
65Edmund C. Stanton
66Nestore Calvano
67William Courtney
68John Stringi
69Lulu Veling
70Mrs. Minnie Richards
71Florence Clinton-Sutro
72Arthur Friedheim
73Clara Eddy
74Franz Abt
75Fannie Bloomfield
76S. Jacobson
77C. M. Von Prochaska
78I. O. Von Prochaska
79Edvard Grieg
80Adolf Henselt
81Bass & Albert
82Lillie Lehmann one of two readings
83Lilli Lehmann one of two readings
84William Candidus
85Franz Kreisel one of two readings
86Franz Kreisler one of two readings
87Leandro Campanari
88Franz Raveli one of two readings
89Franz Ravel one of two readings
90Blanche Stone Barton
91Amy Sherwin
92Thomas Ryan
93Achille Errani
94C. Joe Bach
95Henry Schradieck
96John F. Rhodes
97Wilhelm Gericke
98Frank C. M. one of two readings
99C. M. Von Weber one of two readings
100Frank C. C. M. Von Weber one of two readings
101Edward Fisher
102Kate Rolla
103Charles Rehm
104Harold Randolph
105Minnie V. Vandeeve
106Adele Aus der Ohe
107Karl Kindworth
108Edwin Kluthe
109Mellen D. Campbell
110Alfredo Barili
111Wm. R. Chapman
112Otto Roth
113A. L. Blumenschein
114Leonard Labatt
115Albert Venino
116Jose Rheinberger
117Max Benner
118Helen von Doenhoff
119Adolf Jensen
120Hans Richter
121Margaret Reid
122Emil Fischer
123Merrill Hopkinson, MD
124E. S. Bonelli
125Paderewski one of two readings
126Paderevski one of two readings
127Siegfried Wagner one of two readings
128Sergei Tanejev one of two readings
129Arrigo Boito
130Paul von Janko
131Carl Schroeder
132John Lund
133Edmund C. Stanton
134Heinrich Gudehus
135Charlotte Huhn
136Teresa Tua
137Lucca
138Ivan E. Morawski
139Leopold Winkler
140Costanza Donita
141Carl Schumann
142Heinrich Vogel
143Johann Sebastian Bach
144Peter Tschaikowsky
145Jules Pera—2
146Adolf M. Foerster
147J. H. Hahn
148Thomas Martin
149Louis Gaertner
150Louis Gau Courtney
151Richard Wagner
152Theodore Thomas
153Dr. Damrosch
154Campanini
155Julius von Bernuth
156Constantin Sternberg
157Dengremont
158Galassi
159Hass Balatka
160Mathilde Wurm
161Liberati
162Johann Strauss
163Anton Rubinstein
164Del Puente
165Josephy
166Julia Rivé-King
167Hugo Gnann
168Louis Blumenberg
169Friedrich Grant Gleason
170Ferdinand von Hiller
171Robert Volkmann
172Julius Niedetz one of two readings
173Julius Nichtz one of two readings
174Max Heinrich
175A. L. Guille
176Ovide Musin
177Anton Udvardi
178Alechin
179Louis Natali
180Ethel Wakefield
181Carl Retter
182Gustav Gemünden
183Emil Liebling
184Van Zandt
185W. Edward Heimendahl
186Mrs. Cremelli
187Albert M. Gerby one of two readings
188Albert M. Garby one of two readings
189W. Waugh Lauder
190Mrs. W. Waugh Lauder
191Mendelssohn
192Hermann Bulow
193Clara Schumann
194Joachim
195Samuel S. Sanford
196Franz Kneisel
197Christine Dossert
198Dora Henninges
199A. A. Stanley
200Ernst Catzenhusen
201Heinrich Hofmann
202Theodor Kullak
203Emil Sauer
204Jesse Bartlett Davis
205Willis Norton
206August Hylested
207Gustav Hinrichs
208Xaver Scharwenka
209Heinrich Boettel
210V. F. H. Hahn
211Carl R. Martin
212Jennie Dutton
213Walter J. Hall
214Conrad Ansorge
215Carl Beissner
216Emil Steger
217Paul Kalisch
218Louis S. Sanki one of two readings
219Louis S. Soski one of two readings
220Elsner Holden Huss
221Neally Stevens
222Dyas Flanagan
223A. Victor Benham
224Mr. and Mrs. Carl Hild
225Anton Stanikowitch
226Moritz Rosenthal
227Victor Herbert
228Martin Roeder
229Jacques Raff
230Felix Mott
231Augusta Ohrström
232Manie Kunkel
233Mr. and Mrs. Carl Hild one of two readings
234A. F. Ziegfeld one of two readings
235C. F. Cokkering
236Villiers Stanford
237Louis C. Elson
238Anna Mooney-Burch
239Mr. and Mrs. Alves
240Ritter-Goette
241Adel Leising
242Pauline Schöeller-Haag
243Marchesi
244Henry Mason
245P. S. Gilmore
246Neupert
247Hubert de Blanck
248Dr. Luis Maas
249Max Bruch
250L. G. Gottschalk
251Antoine de Kontski
252S. S. Mills
253E. M. Borman
254Otto Bendix
255W. H. Sherwood
256Siegner
257Vicente Nessler
258Johanna Cohen
259Charles F. Tretbar
260Jennie Dickerson
261E. A. MacDowell
262Theodor Reichmann
263Max Treumann
264C. A. Cappa
265Montegro
266Mrs. Helen Ames
267S. G. Pratt
268Emil Scaria
269Hermann Winkelmann
270Donizetti
271William W. Gilchrist
272Ferrania
273Johannes Brahms
274Meyerbeer
275Moritz Moszkowski
276Anne Louise Tanner
277Piloto Greco
278Wilhelm Junck
279Fannie Hirsch
280Michele Banner
281Dr. S. N. Penfield
282F. W. Riesberg
283Emil Mahr
284Otto Sutro
285Carl Schellen one of two readings
286Carl Schlen one of two readings
287Belle Cole
288Carl Millocker
289G. W. Hunt
290Georgie Bizet
291John A. Stockhoven
292Edgar H. Sherwood
293Ponchielli
294Edith Edwards
295Carrie Hun-King
296Pauze & Allmand one of two readings
297Pauze d'Allemend one of two readings
298Verdi
299Hummel Monument
300Berlioz Monument
301Haydn Monument
302Johann Svendsen
303Strauss Orchestra
304Anton Dvorak
305Saint-Saëns
306Pabst & Sarasate
307Jules Jordan
308Albert R. Parsons
309Ther' e Herbert-Foerster
310Rheinberger
311Carlos Salado
312George M. Nowell
313Padeslager
314Anna Lankow
315Maud Powell
316Max Alvary
317Josef Hofmann
318Hindel
319Carlotta F. Pinner
320Marianne Brandt
321Gustav A. Kerker
322Henry Duzenski
323Rudolf Schach
324Fritz Giese
325Anton Seidl
326Max Leckner
327Max Spicker
328Julius Graver
329Hermann Ebeling
330Anton Bruckner
331Mary Howe
332Atalaye Claire
333Mr. and Mrs. Lawton
334Fritz Kreisler
335Madge Wickham
336Richard Burmeister
337W. J. Lawton
338Niel W. Gade
339Hermann Levi
340Edward Chadfield
341James H. Hoad one of two readings
342James H. Hone one of two readings
343George A. Cheekering
344John C. Fillmore
345Helene C. Livingstone
346M. J. Niedzielski
347Franz Wizcek
348Alfred Herrmann
349Ivan Lurie
350Carl Busch.
351600.
352WITH pardonable pride we call the attention of our readers to the fact that this is the 600th issue of THE MUSICAL COURIER, which means nearly twelve years of uninterrupted activity in the musical and music trade spheres. We have witnessed the rise and fall of many music journals, which started in the race without fixed principles or even a knowledge of the art of music. THE MUSICAL COURIER by its obstinate allegiance to the highest and best in music has been a great factor in the musical education of the United States. Despite the storm and stress of calumny and criticism we will continue in the future to tell the truth and nothing but the truth.
354(no line here) one of two readings
355THIS IS PRAISE INDEED.
356THE Buffalo "Courier" of Sunday, August 16 says:
357The current number of THE MUSICAL COURIER is full of interesting reading and well edited. It is the best journal of musical affairs in the country.
359(no line here) one of two readings
360MUSIC AND MORALS.
361QUITE in consonance with its mediæval views of the tone art, the Quaker City recently uttered, through the voice of one of its well-known critics, that platitude of platitudes about music and morals being mated matrimonially.
362We need not remind you of that side whiskered, apostle of sweetness and light, the Rev. Dr. Haweis who fulminated blandly against the jade Immorality even being spoken of in the presence of the Divine Muse.
363Alas for Dr. Haweis and his harmlessly loquacious volume, "Music and Morals," human nature and hard, unalterable facts shiver his saponaceous arguments completely.
364We refrain from post-mortem scandals. You all know that Mozart, Schubert, Schumann and Wagner were no saints; that even the mighty shade of Beethoven has not escaped the scalpel of the surgeon biographer, the ingenious and painstaking Thayer having unearthed a mere hint of a peccadillo that recalls the heyday of the Athens of Socrates.
365The oft asserted and tiresome proposition that music means morality has as much truth lurking in its alliterative shallows as would have its converse, and we fancy nobody is insane enough to claim that morality necessarily means music!
366There are many moral musicians and possibly some musicianly moralists, but that has little to do with the question whether music is conducive to what is generally known as good morals, or even that vague condition of the soul dubbed by professors of ethics the higher life.
367It is a delicate query and one that must be conducted with the utmost perspicacity, for the path is thickly sown with personal corns, and woe betide the critic who treads upon them rudely.
368"How, sir!" flashes out a musician. "I play the trombone, I am married, and do not drink, smoke nor swear."
369Vainly assure the owner of the trombone corn that personalities were not intended, pianists being as a whole quite as moral as violinists, vocalists as 'cellists.
370It is of no use; the question is one of tremendous personal interest to musical people, and as a class they are never noted for seeing matters objectively.
371But a question it is, nevertheless, and we are inclined to negative those hopeful souls who, remembering that Saul of old was calmed by David's harp, immediately rush to the conclusion that music is both a moral and a therapeutic agent of inestimable value.
372A cure for the body it may be, but in Saul's case it can hardly be claimed that it effected a permanent soul cure.
373Saul, however, was a tough moral nut to crack.
374The abhorrence in which music was held by the early fathers and those sainted gentlemen who successfully conducted the English Reformation seems to have had a sub-basis of logic, for Coptic patriarchs and Presbyterian elders alike knew, probably through experience, that melody is a most subtle prodder of the emotions, and not always religious emotion either.
375Between the Scylla of lewd operatic airs and the Charybdis of absolute silence lay the channel of ecclesiastical music, and, determining that the devil should not get all the good tunes, music was pressed willy-nilly into the service of the Lord, and from the ill-assorted and untoward union were born all manner of strange forms — oratorios, hymns, masses and what not, which are, artistically speaking, neither fish nor flesh.
376Religious music is a pious myth—there is no such thing. If by grave tempi and massive harmonies the listener's brain is cajoled into that soothed, semi-dreamy and altogether listless state called a religious frame of mind, it is, after all, largely a question of subjectivity.
377In point of fact music glorifies our subjectivity, and, no matter how definite may be the labels affixed to a symphonic poem or an oratorio, we each of us build our little subjective tone palaces, and there even be those who find metaphysics in a Strauss valse and obscenity in a Chopin nocturne.
378Who shall dare to say they are wrong?
379Not even the composer himself, who often resembles one of the genii in the "Arabian Nights." He releases the magic smoke and is surprised at the fantastic shapes it afterward assumes.
380Is there then no moral music?
381All good music is moral, artistically moral, but the relations 'twixt the Ten Commandments and "Tristan and Isolde" are excessively nebulous.
382Doubtless you will exclaim that Wagner's masterpiece is sensuous music. Granted, but so is "Old Hundred," for it reaches the brain through precisely the same medium as the emotion stirring "glance motif" of Wagner's fiery hero and heroine.
383The truth of the matter is that the venerable prejudice against music and musicians is not altogether without foundation.
384Music by appealing to our emotions has a tendency to render hazy our moral perceptions.
385The musician is not so often an immoral man as an unmoral one. To him his art so far transcends those vulgar facts of life known as meum and tuum that he incurs censure for acts that he really commits unconsciously.
386Music is not moral, nor yet is it immoral.
387It is a powerful medium for exciting our emotional nature, being the most sensuous of the arts on its physical side.
388It gives you back tenfold what you bring it.
389If a deeply religious nature listens to music it paints for him grave pictures of sobered bliss hereafter; the prodigal boiling over with spirits has his blood stung to madness by a melody, and for him wine, women and song are a trinity that can never be parted.
390Composers must not be classed with executive artists, though many specimens of what the world considers immoral men could be found in the list of creative musical geniuses.
391But the immoral effects of music are more perceptible among interpretive musicians. They are, we mean, of course, artists of ability, like finely strung aeolian harps that sing for you as the wind listeth.
392With keen emotional temperaments, sensibilities finer than woman's, nerves like a race horse, why expect adherence of these souls to a moral code that is as elastic as a telegraph pole?
393As all morality is geographical, why should not musical artists have their own especial moral territory?
394They have, and the world piously agrees that it is a very immoral one.
395Perhaps it is.
396Why expect of a pianist who reads Chopin for you in a subtly exquisite fashion to know that the Decalogue is of more importance than his music?
397You will never convince him, for his ethics are musical ethics; the other kind may be more in vogue, but he wots it not.
398"Come," he pleads, "let me play for you this tiny prelude of Chopin, with azure glancing harmonies. Is that not better than your ten dreary 'thou shalt nots?'"
399The forced marriage of music and morals has proved a most unhappy union. Its dull offspring, the oratorio and the psalmody, which are a compromise between hell and heaven, will not survive many generations. They have already an archaic flavor and their loss will be our gain, musically.
400Divorce from your minds, we pray you, the idea that music and morals are inseparable. Music is a
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