Scan 4
Musical Courier 1891-10-14: Vol 23 Iss 608, 1891
415 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 413. 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. 608.
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, OCTOBER 14, 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 BRÜCKERSTRASSE, LEIPZIG.
20NOTICE.
21Electrotyes 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 electrotyes 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
31Helen Gerster
32Nordica
33Josephine Yorke
34Emilie Ambr
35Emma Thuerry
36Teresa Creafio
37Kellogg, Clara L.—2
38Minnie Hauk—2
39Materna
40Alban
41Annie Louise Curry
42Emily Winant
43Lena Little
44Murio-Celli
45Andrea Carnegie
46James T. Whelan.
47Eduard Strauss
48Elenor W. Everett one of two readings
49Elenor W. Everest one of two readings
50Linda
51Marie Louise Dotti
52Marie Jahn
53Furch-Madi—9
54Oma Marquardt
55Zelie Lussan
56Blanche Roosevelt
57Antonia Mielke
58Titus d'Arnesti
59Anna Bullock-Hills
60Charles M. Schmitz
61Friedrich von Flotow one of two readings
62Friedrich von Ploto one of two readings
63Franz Lachner
64Heinrich von Schwab one of two readings
65Heinrich Schuchner one of two readings
66Emil C. Stanton one of two readings
67Emilie C. Stanton one of two readings
68Nestore Calvano
69William Courtney
70Josef Hudig
71Julia Veling
72Mrs. Minnie Richards
73Florence Clinton-Sutro
74Arthur Friedheim
75Clarence Eddy
76Frank Abe
77Fannie Bloomfield
78S. E. Jacobsohn
79C. M. and W. Wiske
80J. O. Von Prechacka
81Edvard Grieg
82Adolf Henselt
83Eugen d'Albert
84Lili Lehmann one of two readings
85William Candidus one of two readings
86Franz Kneisel one of two readings
87Lilian Candidus one of two readings
88William Kneisel one of two readings
89Leandro Campanari
90Franz Schubert one of two readings
91Franz Schimmel one of two readings
92Blanche Stone Barton
93Amy Sherwin
94Thomas Ryan
95Achille Ernani
96C. J. von Bachach
97Henry Schradieck
98John F. Rhodes
99Wilhelm Gericke
100Brilliant
101C. M. Von Weber
102Edward Fisher
103Kate Rolla
104Charles Rehm
105Harold Randolph
106Minnie V. Vandever
107Adele Aus der Ohe
108Karl Klinworth
109Edwin H. Ware
110Helen D. Campbell
111Alfredo Barili
112Wm. R. Chapman
113Otto Roth
114Anton Carpenter
115W. L. Blumenschenk
116Leonard Labatt
117Albert Venino
118Josef Ritterberger
119Max Bendix
120Helene von Doenhoff
121Agolf Jensen
122Hans Richter
123Marie A. Reid
124Emil Fischer
125Merrill Hopkinson, MD
126P. S. Bonelli
127Paterowski
128Stavenhagen
129Arrigo Boito
130Paul von Janko
131Carl Schneider
132John Lund
133Edmund C. Stanton
134Heinrich Gudehus
135Charlotte Huhn
136Teresina Tua
137Lucca
138Ivan E. Morawski
139Leonard Winkler one of two readings
140Leopold Winkler one of two readings
141Costanza Donita
142Carl Reinecke
143Heinrich Vogel
144Johann Sebastian Bach
145Peter Tschaikowsky
146Julie Patti—2
147Adolph M. Foerster
148J. H. Hahn
149Thibault Martin
150Louis Gaertner
151Pietro Mascagni
152Richard Wagner
153Theodore Thomas
154Dr. Damrosch
155Camminini
156Julius von Bernuth
157Constantin Sternberg
158Dengremont
159Gelaski one of two readings
160Gelaskas one of two readings
161Hans Balatka
162Mathilde Wurm
163Liberati one of two readings
164Librati one of two readings
165Johann Strauss
166Anton Rubinstein
167Del Puente
168Joseffy
169Julia Rive-King
170Hope Glenn
171Louis Blumenberg
172Frank Van der Stucken
173Frederic Grant Gleason
174Fernando von Miller
175Robert Volkmann
176Julius Rietz
177Max Heinrich
178A. L. Grün
179Oved Muskat
180Anton Udvardi
181Alcuin Blum
182Louis Natel
183Ruth Wiedfeld one of two readings
184Rheinhold Winkel one of two readings
185Carlyle Petersilka one of two readings
186Carl Petersen one of two readings
187George Gemünden
188Emil Hahn
189Van Zandt
190W. Edward Heimendahl
191Mrs. Clemelli
192Albert M. Lengyel
193Wright Lauder
194Mrs. W. Waugh Lauder
195Mendelssohn
196Hans von Bülow
197Chas. Schumann
198Joachim
199Samuel S. Sanford
200Frank Lizst
201Christine Dossert
202Hermann Heininges
203A. A. Stanley
204Ernst Catzenhun
205Heinrich Hofmann
206Chas. Pradel
207Emil Sauer
208Jesse Bartlett Davis
209Willis Noyes
210August Hylested
211Gustav Hinrichs
212Xaver Schawenka
213Heinrich Boettel
214W. F. Hahn
215Jennie Dutton
216Walter J. Hall
217Conrad Ansong one of two readings
218Conrad Ansonge one of two readings
219Carl Baumann
220Emil Steger
221Paul Kalisch
222Louis Sztukowski
223Jenifer Holden Huss
224Neally Stevens
225Dyas Flanagan
226A. Victor Benham
227Mr. and Mrs. Carl Hild
228Anton Stanislawitch
229Moriz Rosenthal
230Victor Herbert
231Martin Reeder
232Jacob Raff
233Felix Mottl
234Augusta Ohrstrom
235Mamie Kunkel
236Dr. F. Ziegfeld
237C.F. Hering
238Villiers Stanford
239Louis C. Elson
240Anna Mooney-Burch
241Mr. and Mrs. Alves
242Ritter-Goetze
243Adele Lewing
244Pauline Schöeller-Haag
245Marchesi
246Henry Mason
247P. S. Gilmore
248Kathleen PaulsenWhite
249Hubert de Blanc
250Mrs. Johnstone-Bishop.
251Max Bruch
252L. G. Gottschalk
253Anna de Kosinski
254S. B. Mills
255E. M. Bowman
256Otto Bendix
257W. H. Sherwood
258Stagno
259Victor Nessler
260Johanna Cohen
261Charles H. Hobar
262Jennie Dickerson
263E. A. MacDowell
264Theodore Reicmann one of two readings
265Theodore Reichmann one of two readings
266Max Treuman
267C. A. Crepa
268Monteferrero
269Mrs. Helen Ames
270S. G. Pratt
271Rudolph Aronson
272Hermann Winkelmann
273Donzetti
274William W. Gilchrist
275Ferranti
276Johannes Brahms
277Meyerbeer
278Moritz Moszkowski
279Anna Louise Tanner
280Friedrich Greese
281Wilhelm Fink
282Fannie Hirsch
283Michael Banner
284Dr. S. V. Penfield
285F. W. Rieberg
286Emil Mahr
287Otto Sutro
288Carl Faellen
289Belle Cole
290Carl Schucker
291G. W. Hunt
292Georges Bizet
293John A. Brockhoven
294Edgar H. Sherwood
295Ponchielli
296F. H. Torrington
297Carrie Hun-King
298Pauline l'Allemand one of two readings
299Verdi one of two readings
300Pauline l'Allemann one of two readings
301Hummel Monument
302Berlioz Monument
303Haydn Monument
304John Strauss
305Strauss Orchestra
306Anton Dvorak
307Saint-Saëns
308Pablo de Sarasate
309Pillars
310Albert R. Parsons
311Ther' e Herbert-Forster
312Benedict Piersson one of two readings
313Benedict Pierson one of two readings
314Carlos Sclatero one of two readings
315Carlos Sedlace one of two readings
316George M. Nowell
317William Mason
318Padeloup
319Alex Lashow
320Maud Powell
321Max Alvary
322Josef Hofmann
323Händel
324Carlotta F. Pinner
325Marianne Brandt
326Gustav A. Kerke
327Henry Duzensi one of two readings
328Henry Duzenski one of two readings
329Benedict Schier
330Fritz Giese
331Anton Seidl
332Max Leckner
333Max Marker
334Judith Greaves
335Hermann Ebeling
336Anton Bruckner
337Mary Howe
338Eduard Richter
339Mr. and Mrs. Lawton
340Fritz Kreisler
341Madge Wickham
342Richard Burmeister
343W. J. Lathrop
344Niels W. Gade
345Hermann Levi
346Edward Chadfield
347James Howe
348George H. Chickerling
349John C. Fillmore
350Helene C. Livingstone
351M. N. Nizhinski
352Frank Wicker
353Alfred Sormann
354Juan Luria
355Carl Busch.
357MADISON SQUARE GARDEN CONCERT HALL.
358FIRST APPEARANCE IN AMERICA OF
359ALFRED GRÜNFEILD, one of two readings
360ALFRED GRÜNFIELD, one of two readings
361Court Pianist of the Emperors of Germany and Austria,
362FRIDAY EVENING, OCTOBER 23.
363Subscription Tickets for Six Concerts, $2.00; for sale on now at Schubert's, 23 Union Square. one of two readings
364Subscription Tickets for Six Concerts, $8.00; for sale on now at Schubert's, 23 Union Square. one of two readings
366THAT universal musical genius, Jerome Hopkins, is once more treading his native heath. He has not as yet interviewed his compatriot George Francis Train.
368MR. EDMUND C. STANTON, of the Metropolitan Opera House, has been elected to the office of cashier of the New York Life Insurance Company, a place of great responsibility. In response to an inquiry, he writes to THE MUSICAL COURIER:
369I do not intend to sever my connection here, and my interest in musical matters will be as great as ever before.
370Yours truly,
371EDMUND C. STANTON.
373THE New York "World" had the following one day last week:
374A Michigan journal is disturbed because the "World" has asserted that New York is "the music centre of the country." It seems to think that the Boston Symphony Orchestra comes here because New York has none of its own, and wants to know why we don't get one. It also asks why we allowed Chicago to "outbid" us "in the matter of securing Theodore Thomas' services." It is only necessary to say to this unenlightened newspaper that the Boston company comes here because it can get paying audiences; that New York maintains not one but several first rate permanent orchestras, and has Seidl and Damrosch, besides other conductors. Thomas did much to make New York a music centre, but of late years he has had several worthy rivals, and he goes to Chicago because there he will be alone, without competition. It is New York's sincere hope that he will be able to cultivate a taste for good music, not only in Chicago but in the outlying province of Michigan.
376Good and true, particularly the sentence that refers to Mr. Thomas' fear of competition.
378AND now Milwaukee, emulative of Bayreuth, proposes sundry things, as indicated in the following dispatch to the "Herald:"
379MILWAUKEE, Wis., October 9, 1891.—The promoters of the scheme to reproduce in Milwaukee during the world's fair period the Bayreuth festival plays are to-day considering the propositions of Director Angelo Neumann, of Prague.
380Director Neumann offers to present the following Wagner operas during the season: "Die Feen," "Tannhäuser," "Lohengrin," "Rienzi," "Meistersinger," "Flying Dutchman," "Tristan," "Rheingold," "Walküre," "Siegfried" and "Götterdämmerung." He proposes to give four evening and two matinée performances weekly and to bring the whole stage apparatus, including the original Bayreuth scenery.
381All this is truly an American scheme, and if pushed to a successful conclusion will seriously impair the attractions of that nebulous uncertainty, the world's fair in Chicago.
382By all means let us have Bayreuth in Milwaukee. It is nearer. Besides, the beer is just as good as at Angermann's.
384A LETTER FROM THE QUAKER CITY.
385THE following letter is a curiosity which we print on that account:
386220 DE KALB SQUARE,
387WEST PHILADELPHIA, October 5, 1891.
388Editors Musical Courier:
389I herewith return the M. C. of the last week with the following remarks (and I do not wish to renew my subscription):
390Constant is Sternberg lowered the standard of all brother artists by allowing to have a humbug circular distributed; the one recital he gave was imperfect, although it showed much talent.
391Gilbert Combs is considered to be a very good double bass player, but one of his piano pupils left him, and that because he is no pianist of any account and not capable of showing practically how anything difficult should be performed.
392Michael Cross did much to uphold the enthusiasm for chamber music; so did Hugh Clark, although not publicly.
393Charles Schmitz is a self made musician, who nevertheless once conducted a Mendelssohn oratorio without rehearsal and without a flaw, which is a good deal, although here and there he may show that he had no regular training.
394Last, but not least, Charles Jarvis had the greatest technique of all "born" American pianists, and nobody can compete with him as a reader. Charles Jarvis did more than anybody in Philadelphia to make the public acquainted with all the ensemble works written; he kept his musical soirées before the public longer than twenty years.
395Yours respectfully,
396MARTINUS VAN GELDER.
398This letter, which is on a par with the writer's abilities as a violinist, was written because THE MUSICAL COURIER presumed to criticise some of the musical gods of Wanamakerville—criticise them kindly but justly. Mr. Van Gelder, like a knight of old, bravely flies to the rescue of Messrs. Cross, Jarvis, Clark and Schmitz, and at the same time does not neglect, clever business man that he is, to hit out at Constantin Sternberg, a brother professional. Now THE MUSICAL COURIER has already criticised the circular sent out by Messrs. Sternberg and Hinrichs, believing that it was gotten up without their personal supervision. Mr. Van Gelder, as much as he deplores THE MUSICAL COURIER's remarks about Messrs. Cross, Jarvis, Clark and Schmitz, nevertheless presumes to criticise a musician of an artistic stature far superior to his own, both as an executant and as a composer.
400Is it possible Mr. Sternberg has "added to his many accomplishments" violin playing, or how else can be construed Mr. Van Gelder's remarks? It is good, however, to notice Mr. Van Gelder's appreciation of Mr. Sternberg's talents. Mr. Sternberg ought to feel duly grateful. Mr. Combs comes in for his share, too, and even if Mr. Schmitz did conduct a Mendelssohn oratorio without a flaw or a rehearsal, or Mr. Jarvis had the greatest technic of all "born" Americans, it all has nothing to do with the case.
402THE MUSICAL COURIER knows whereof it speaks, and did not select the names of Messrs. Cross, Jarvis, Clark and Schmitz at haphazard. Because they have not fulfilled the trust reposed in them as musical leaders of their city, precisely because of this their day has come, and new blood will reanimate the somnolent veins of the Quaker City. The sooner Philadelphia gets a permanent orchestra and a decent chorus that Messrs. Schmitz and Cross will not conduct, or concerts wherein Mr. Jarvis will not play Kalkrenner concertos, or Mr. Clark's dreadful English slide whiskered harmonies will not be heard, why then all the better for Philadelphia. The days of old fogeydom have passed.
404As for Mr. Van Gelder, the best thing he can do (in addition to not trying to play Vieuxtemps' compositions in public) is to subscribe to one of the alleged musical journals around the country, where he won't learn anything. That is what he evidently seeks. He will discover too many things in THE MUSICAL COURIER, and that he evidently does not seek.
406MASCAGNI MEASURED.
407PIETRO MASCAGNI is still being measured, and as yet there is no dissentient voice in the critical choir, though all unite with THE MUSICAL COURIER in the belief that the young composer, despite his individuality, has been overrated and certainly over-boomed. Mr. Stevenson says in the "Independent:" This is the era of the short story in literature, of the dashing, sharp impressionism in art, of the condensed opera in music. It is the age where one line must do duty for a page, one stroke for twenty on the canvas, one measure for a bar. It is a leap from G. P. R. James to De Maupassant from a Cagliari to Monet. From Meyerbeer to men like Mascagni or Smaregina is a far cry. It is a sudden development in arts, this condensation. It can be overdone, but how much may come of it for artistic good?
409It is a tendency that does not necessarily "make for righteousness," to quote Arnold. Baldness, hardness, poverty of imagination will surely result if the skeletonizing process is overdone. Some stories are too great, too beautiful to be told in an epigram, and either extreme brevity or linked sweetness long drawn out is to be avoided.
411The music critic (Mr. Henderson) of the "Critic," which is becoming a final court in this country for things literary, says:
412It is singular that none of the Italianissimi have risen up since the advent of Mascagni's opera and shouted "Italian opera is not dead!" For surely "Cavalleria Rusticana" proves conclusively that the life of genuine Italian opera has been saved by a transfusion of Teutonic blood. The drooping form has been raised up. "Changed it is, indeed, as to its outer aspect; yet it is still Italian. Pietro Mascagni is no imitator of Wagner; for which all who have at heart the highest interests of art should be profoundly grateful. Wagner is a bad model. He is bad because that which is great in his music is inimitable. He could be imitated successfully only by one as mighty as himself, and such an one would not imitate at all. If Mascagni has purposely followed any model at all it is Verdi's "Otello." His music pays a constant tribute to the harvest work of the grand old Italian master. Yet that which makes "Cavalleria Rusticana" worthy of the public favor bestowed on it is all Mascagni's. The secret of the success of this opera is the splendid virility of the music. There is no mawkish sentimentality of melody or instrumentation, such as is found throughout Gounod's "Romeo and Juliet;" there is no bald conventionality of rhythm such as made Donizetti so easily comprehended by the unthinking audiences of his time. Mascagni's music is cast in the highest form of dramatic arioso, never approaching the declamation of Wagner nor the recitative of the Rossini opera. It is always melodious, always vocal. It always preserves the Italian tradition that singing is the prime factor in opera.
413Yet Mascagni has learned one truth from Wagner: it is the same truth that Verdi learned in his old age—that "the play's the thing." The young composer has faithfully and richly expressed in his music the emotions indicated by the words of the text. His music is as picturesque in its illustrative power as that of Bizet's "Carmen." Mascagni has written a vocal music drama. He is a singer all the time. For this all lovers of music should be thankful. Yet the new light in the lyric drama has not failed to recognize the enormous value of orchestral effects as demonstrated by the mightiest musical genius of this age. Mascagni has made his orchestra speak eloquently, and he has even made judicious use of leading motives.
414The book of "Cavalleria Rusticana" deserves respect. Perhaps the authors of it were not skilled librettists, but they have produced a good libretto. They had a little story to tell, a story full of path, point and passion, like one of Guy de Maupassant's short tales. Like him they told it with simple directness. They wasted no more words than Kipling, but went right to the point; and when they had finished they stopped abruptly, almost brutally. But the effect on the audience is powerful. One does
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