Scan 4
Musical Courier 1891-09-30: Vol 23 Iss 606, 1891
389 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 353. See the scan on archive.org.
1THE MUSICAL COURIER.
2-A WEEKLY PAPER-
3DEVOTED TO MUSIC AND THE MUSIC TRADES.
4ESTABLISHED JANUARY, 1880.
5No. 606.
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, SEPTEMBER 30, 1891.
11MARC A. BLUMENBERG. OTTO FLOERSHEIM.
12BLUMENBERG & FLOERSHEIM,
13Editors and Proprietors,
14JAMES G. HUNEKER, HARRY O. BROWN.
15ASSOCIATE EDITORS.
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 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 electrotypes of the same, and publish the subjoined list for the purpose of facilitating a selection.
23Adelina Patti
24Ida Klein
25Sembrich
26Christine Nilsson
27Schiess
28Trebelli
29Marie Roze
30Anna de Bellocca
31Reika Gerster
32Nordica
33Josephine Yorke
34Emile Ambré
35Rosenkranz
36Teresa Carreño
37Kellogg, Clara L.—2
38Minnie Hauk—2
39Materna
40Ahlvin
41Linnie Louise Cary
42Emily Winant
43Lena Little
44Murphy
45Andrew Carnegie
46James T. Whelan
47Eduard Strauss
48Elenor W. Everett
49Elenor W. Everett
50Marie Louise Dotti
51Marie Jahn
52Furch-Madi—2
53John Marquardt
54John Lussan
55Blanche Roosevelt
56Antonia Mielke
57Titus d'Ernesti
58Charles M. Schmitz
59Friedrich von Flotow
60Franz Lachner
61Heinrich Marschner
62Edmone C. Stanton
63Nora Carvano
64William Courtney
65Josef Staudigl
66Lulu Veling
67Richard Richards
68Florence Clinton-Sutro
69Arthur Friedheim
70Clarence Eddy
71Franz Ab
72S. E. Bloomfield
73S. E. Jacobsohn
74C. Mortimer Wisse
75J. O. Von Prochazka
76Edgar Gerlach
77Adolf Henselt
78Bugen d'Albert
79Lili Lehmann
80William Candatus
81Franz Keisel
82Leandro Campanari
83Franz Rummel
84Blanche Stone Barton
85Amy Ryan
86Thomas Ryan
87Achille Errani
88C. Jos. Brambach
89Hermann Gräfleid one of two readings
90Hermann Gräf one of two readings
91John F. Rihm
92Wilhelm Gericke
93Frank Taft
94M. Von Weber
95Edward Fisher
96Karl Rola
97Charles Rehm
98Harold Randolph
99Helen von Andenker one of two readings
100Helen von Andenreder one of two readings
101Adèle Aus der Ohe
102Karl Klinworth
103Edwin Klahre
104Helen D. Campbell
105Afred Barili
106Wes. R. Chapman
107Otto Roth
108Anna Carpenter
109W. L. Blumenschein
110Lena Laban
111Albert Venino
112Josef Rheinberger
113Max Bendix
114Helene von Doenhoff
115Adolf Jensen
116Hans Richter
117Margaret Reid
118Emil Fischer
119Merritt Hopkinson, MD
120J. S. Boles
121Padewerkski
122Stavenhagen
123Arrigo Boito
124Paul Janiko
125Carl Schroeder
126John Lund
127Edmund C. Stanton
128Heinrich Gudehus
129Charlotte Huhn
130Teresa Tua
131Luca
132Ivan E. Morawski
133Leopold Winkler
134Costanza Donita
135Schiess one of two readings
136(no line here) one of two readings
137Carl Reinecke
138Heinrich Vogel
139Johann Sebastian Bach
140Peter Tschaikowsky
141Jules Perotti—2
142Adolph M. Foerster
143J. H. Hahn
144Thomas Martin
145Louis Gautier one of two readings
146Louis Gartner one of two readings
147Pietro Mascagni
148Theodore Thomas
149Dr. Daninosch
150Campanini
151Julius von Bernuth
152Constantin Sternberg
153Degenrement
154Galassi
155Hans Balatka
156Mathilde Wurm
157Johann Strauss
158Anton Rubinstein
159Del Puente
160Joseff
161Julia Rivié-King
162Hope Glenn
163Louis Blumenberg
164Frank Van der Stucken
165Frederic Grant Gleason
166Ferdinand von Hiller
167Robert Volkmann
168Julius Rietz
169Max Heinrich
170Al. Gutt
171Ovide Ausen
172Anton Udvardi
173Alcuin Blum
174Louise Natali
175Ethel Wacefield
176Mariana Petersilie
177Carl Retter
178George Gemünden
179Emil Liebling
180Van Zandt
181W. Edward Heimendahl
182Mrs. Clemelli
183Albert M. Bagby
184W. Waugh Lauder
185Mrs. Waugh Lauder
186Mendelssohn
187Hans von Bülow
188Clara Schumann
189Samuel S. Sanford
190Franz Liszt
191Christine Dossert
192Dora Hennings
193A. S. Hennings
194Ernst Catzenhuse
195Heinrich Hofmann
196Charles Fradel
197Emil Sauer
198Emile Bartlett Davis
199D. Burneister-Petersen
200Willis Nowell
201August Hillested
202Gustav Hirsch
203Xaver Scharwenka
204Heinrich Boetel
205W. B. Haslam
206Carl E. March
207Jenny Dutton
208Walter J. Hall
209Conrad Ansorge
210Carl Baermann
211Rahm
212Paul Kalisch
213Louis Svecenski
214Henry Holden Huss
215Neally Stevens
216Yvonne Galli
217J. Victor Benham
218Mr. and Mrs. Carl Hild
219Anthony Stankowitch
220Mortz Rosenthal
221Viktor Hoss
222Martin Roeder
223Joachim Raff
224Felix Mottl
225Auguste Ohström
226D. Annie Kunkel
227Dr. F. Ziegfeld
228C.F. Chickerling
229Villiers de Baud one of two readings
230Villiers de L'Isle one of two readings
231Louis E. Blund one of two readings
232Louis de Blain one of two readings
233Anna Monechy-Burch
234Mr. and Mrs. Alves
235Ritter-Goetze
236Adele Lewing
237Pauline Schöller-Haag
238Marchesi
239Henry Mason
240P. S. Gilmore
241Katharine PaulsenWhite
242Hubert de Blanc
243Dr. Louis Maas
244Max Bruch
245L. G. Gotchchalk
246Andreas de Kontski
247S. B. Mills
248E. M. Bowman
249Otto Bendix
250W. H. Sherwood
251Stagni
252Victor Nessler
253Johanna Cohen
254Charles F. Tretbar
255Jennings-Kerrson
256E. A. MacDowell
257Theodore Reichmann
258Max Treuman
259C. A. Caruso
260Montefiori
261Mrs. Helen Ames
262S. G. Pratt.
263Rudolph Aronson
264Hermann Winkelmann
265Donizetti
266William W. Gilchrist
267Ferranti
268John Lewis Brahms
269Meyerbeer
270Moritz Moszkowski
271Anna Louise Tanner
272Filoteo Greco
273Friedrich Kark
274Fannie Hirsch
275Michael Banner
276Dr. S. N. Penfield
277F. W. H. Sutberg
278Emil Mahr
279Otto Sutro
280Carl Faetlen
281Belle Cole
282Carl Schickerling
283G. W. Hunt
284Georges Bizet
285John A. Brockhoven
286Edgar H. Sherwood
287Ponchielli
288Edith Edwards
289Carrie Hun-King
290Pauline L'Allemand
291Verdi
292Hummel Monument
293Berlioz Monument
294Haydn Monument
295Johann S. Søndesen
296Stravinsky Orchestra
297Anton Dvorak
298Saint-Saëns
299Pablo de Sarasate
300Jules Massenet
301Albert R. Parsons
302Ther'Herbert-Foerster
303Bertha Pierson
304Carlos Sobrino
305George F. Nowell
306William Mason
307Pasdeloup
308Anna Lankow
309Maud Powell
310Max Arner
311Josef Hofmann
312Händel
313Carlotta F. Pinner
314Marie von Brandt
315Gustav A. Kerkez
316Henry Duzenski
317Emma Juch
318Fritz Geissler
319Anton Seidl
320Max Leckner
321Judith Graves
322Hermann Ebeling
323Anton Seidl
324Mary Howe
325At'alie Claire
326Mr. and Mrs. Lawton
327Fred K. Kopp
328Madam Wickham
329Richard Burmeister
330W. J. Lavin
331Nicolai Gade
332Hermann Levi
333Edward Chadfield
334James H. Howe
335George H. Chickerling
336John C. H. Moore
337Helen C. Langstone
338M. J. Niedzielski
339Franz Wilczek
340Alfred Sormann
341Juan Lurta
342Carl Busch.
344THE Worcester Festival is really the first gun of the musical season.
346THE Mascagni broth still boils fiercely over the fire made by Messrs. Aronson and Hammerstein. What's in a name?
348WAGNERISM lost an ardent champion by the death of Ferdinand C. W. Praeger, who was buried at Kensal Green Cemetery, September 8.
350THE receipts of the Bayreuth Festival amounted to $165,000, a great financial success. Next year there will be ten performances of "Parsifal," seven of the "Meistersinger" and three of "Tannhäuser."
352WHAT a curious thing it is that those people who never have time to read THE MUSICAL COURIER are the first to write indignant letters to its office when they see something in it that offends their vanity.
354WALTER DAMROSCH, with his usual enterprise, will present, during the course of his orchestral concerts this season, some remarkable and interesting novelties. A list of these compositions will appear later in THE MUSICAL COURIER.
356THE Vienna "Musikalische Rundschau" states that the "direction of the Great World's Fair Theatre at the Chicago Exposition has been given to G. Amberg unanimously." Will that well informed paper kindly state where the Great World's Fair Theatre is to be located, or rather what it really is?
358HANSLICK is credited with a thoughtful remark concerning dance music: "The lowest class of dance music has only to do with the feet; in a higher grade it addresses itself to fancy, to feeling, even to intellect. To do justice to this higher class it is necessary that the composer should raise himself from the merely gymnastic point of view of the dance to its social and ideal importance."
360JUDGING from Colonel Olcott's lecture, read before the Seidl Society in Brooklyn last Saturday afternoon by his sister, Mrs. W. H. Mitchell, the worthy Theosophist believes that musical vibrations can accomplish anything. Well, so does Keeley, of motor fame, and so did Richard Wagner, and you all remember the tumbling of the walls of Jericho when some prehistoric Levy blew his cornet before them. There is no telling to what uses music may be put.
362IS it not a good thing for Philadelphia, which before New York could boast of itself as being the most musical city in America, that it has such workers for the cause in its midst as Gustav Hinrichs, Richard Zeckwer, Maurits Leefson, Constantin Sternberg, Gustav Hille, Gilbert Combs and others? Michael Cross, Charles Jarvis and Hugh Clark had nigh stifled the little musical life of the community with their commonplace philistinism and general want of enterprise. Third rate pianists, organists, conductors and composers, they contrived to make the Quaker City a by-word of reproach in musical America, but their day is done, luckily for the interests of art.
364THERE seems to be a suicide wave rolling over musical Europe. Marie Wilt, the famous Wagner singer, whose voice, for volume and sweetness, was phenomenal, threw herself out of a window last week in Vienna; Albert Millet, operatic composer, twenty-eight years old, at Hennequeville, France; John Forster, composer, in Vienna, forty-three years of age, and Carlo Wirtz, composer, twenty-seven years of age, in Venice. Is it possible that these three composers laid violent hands on themselves because of the success of Mascagni? It may be so, for it certainly seems that before we are through with the "Cavalleria Rusticana" some managers and critics will commit suicide.
366THE late James Russell Lowell had not much to say about music. In a picturesque passage about the sea in his recently published "Literary Essays" there is, however, a musical comparison which may interest organists. Lowell says: "The sea was meant to be looked at from the shore as mountains are from the plain. Lucretius made this discovery long ago. Even at his best, Neptune in a tête-à-tête has a way of repeating himself, an obtuseness to the ne quid nimis that is stupefying. It reminds me of organ music and my good friend Sebastian Bach. A fugue or two will do very well, but a concert made up of nothing else is altogether too epic for me. There is nothing so desperately monotonous as the sea. I sometimes sit and pity Noah; but even he had his advantage over all succeeding navigators, that wherever he landed he was sure to get no ill news from home. He should be canonized as the patron saint of newspaper correspondents, being the only man who ever had the very last intelligence from everywhere."
368BOSTON SYMPHONY.
370THE Supreme Court on Thursday, in a suit brought by Hamilton R. Squier as attorney for Max Bachert, of Boston, proprietor of the Boston Symphony Orchestral Club, against Mario Blodeck and Richard Stoezler, rendered a decision restraining Blodeck and Stoezler from using the words, "The Boston Symphony Club," as the title of their concert organization and from giving concerts under that name. The opinion was written by Judge O'Brien.
372We wonder if Judge O'Brien was aware of the fact that the name "Boston Symphony," appropriated by Bachert, is the property of the Boston Symphony Orchestra and that in making use of the deceptive title "Boston Symphony Orchestral," adding merely the letter "l," this Max Bachert, Esq., was doing business on the great reputation of the Boston Symphony Orchestra?
374What, pray you, is an "orchestral" club, anyhow? Is there such a thing as an "orchestral" club, unless it be a club consisting of members of orchestras? And even then the title would be far fetched and incongruous.
376An inquiry into this matter on the part of the attorneys for the defense might have shown in court exactly what the attitude on this assumed title is of the management of the Boston Symphony Orchestra. The people conducting that great institution have for years past been annoyed by the hybrid title of Bachert's club and have been compelled to resort to all sorts of explanations to clear the vexatious interference with the legitimate name and title of their organization.
378They have consistently refused to make public the cause of their disturbance for fear of giving undue prominence to and advertising Bachert's scheme, although THE MUSICAL COURIER stepped into the breach on several occasions to explain the situation to the music public.
380From the view point of common decency the assumption of the name on the part of Bachert has been simply revolting, for it was known and instinctively felt that it was merely an attempt at trading on another name.
382Judge O'Brien could not have known these circumstances; he could not have known them and then render such a decision.
384Moreover "Boston Symphony Club," the name of the club of the defendants in this action, is a title to which appertains some logic. There can be such a thing as a symphony club without exaggeration. In this city we have a Philharmonic Orchestra and a Philharmonic Club, and neither is mistaken for the other. There can be a Symphony Orchestra and a Symphony Club without the slightest friction or interference. There is no play upon words involved and no attempt to utilize another title. An orchestra is one thing, a club another.
386But a "Boston Symphony Orchestral Club" is the color of another horse. The dovetailing of the word "orchestral" is ridiculous from a musical view point, particularly when the character of the organization over which Bachert presides is considered, and the intention of the use to which it was or is to be put is too apparent to admit of any doubt as to the motive of the man who projected the scheme.
388It might be suggested to carry this question up to a higher court and bring the managers of the Boston Symphony Orchestra on the stand. Now that publicity has been given to the scheme they might as well try their hands at the same kind of process Bachert just utilized. As a court decided in Bachert's favor under such peculiar circumstances, another court might decide in favor of the Boston Symphony
The computer misreads some letters and numbers. Where a name matters to you, read the scan.