Scan 10
Musical Courier 1891-11-11: Vol 23 Iss 612, 1891
187 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 543. See the scan on archive.org.
1leuse." It will be the great success of the season. The subject is taken from an old romance and the action lies in the beginning of the century. The music is smooth and almost all the numbers were encored. The piece will be played every evening and its success will be as pronounced as that of "La Fille de Madame Angot."
3"The Damnation" in London.—Sir Charles Hallé proposes to give two performances in London of Berlioz's "Faust" on a Friday evening and Saturday morning.
5The Brussels Concerts.—The Brussels concert season of 1891-2 will consist of four concerts by Franz Servais, on the plan of those given by him four years ago; the Association des Artistes Musiciens will give two concerts at the Monnaie Theatre; the Concerts Populaires will be four in number, and it is almost sure that Hans von Bülow, Aug. Wilhelmj and Sgambati will appear as soloists in these concerts; the conservatory will give four concerts, and the house of Schott, the music publishers, will organize three chamber music evenings.
7The Italian Opera.
9THE following is a list so far of the boxholders of the Italian and French opera, which begins at the Metropolitan Opera House December 16, "Lohengrin" probably being the opera:
111—Mr. Ogden Goellet.
122—Mr. Jay Gould.
133—Mr. George Peabody Warren.
144—Mr. George Peabody Wetmore.
155—Mr. George Henry Warren.
166—Mr. W. W. Sherman.
177—Mr. Brayton Ives and Mr. William C. Whitney.
188—Mrs. De Barrios, Monday, and Mr. Cyrus W. Field, Wednesday.
199—Mrs. William Astor.
2010—Mr. Lawrence Turnure, Wednesday, and Mr. C. E. Postley, Friday.
2111—Mr. John J. Wysong, Monday; Mr. W. S. Wells, Wednesday.
2212—Miss De Forrest.
2313—Mr. George N. Curtis and Mr. J. N. Bostwick.
2414—Mr. Henry Clews and Mr. W. H. Starbuck.
2515—Mr. Adrian Iselin.
2616—Mr. Austin Corbin.
2717—Mr. William Douglass Sloane and Mr. H. McK. Twombly.
2818—Mr. Anson Phelps Stokes.
2919—Mr. A. De Cordova, Monday; Mr. J. H. Schiff, Wednesday and Mr. George Legg, Friday.
3020—Mr. Robert Goellet.
3121—Mr. H. Victor Newcombe.
3222—Mr. George Henry Warren.
3323—Mr. J. Hood Wright.
3424—Mr. E. F. Moulton, Monday; Mr. W. Bayard Cutting, Wednesday, and Mr. H. Lampeare Norris, Friday.
3525—Mr. Elbridge T. Gerry.
3626—Mr. Luther Kountze.
3727—Mr. George De Forrest, Monday; Mr. C. Muller, Wednesday; Mr. J. H. Burden, Friday.
3828—Mr. W. Seward Webb.
3929—Mr. J. Blumenthal, Friday.
4030—Mr. William K. Vanderbilt.
4131—Mr. E. R. Gunther, Monday; Mr. G. S. Scott, Wednesday; Mr. Thomas Stokes, Friday.
4232—Mr. William Rockefeller.
4333—Mr. Calvin S. Brice.
4434—Mr. Heber R. Bishop.
4535—Mr. Cornelius Vanderbilt.
4636—Mr. S. Bowdoin and Mr. H. LeGrand Cannon.
48FIRST TIER.
4937—Mr. Bradley Martin.
5038—
5139—The director.
5240—
5341—Mr. George F. Baker.
5442—Mr. J. W. Drexel.
5543—Mrs. Marshall O. Roberts.
5644—Mr. George Kemp.
5745—Mr. J. T. Baron.
5846—Mr. James Harriman.
5947—Mrs. Christine Herter, Wednesday; Mrs. Josephine Carpenter, Friday.
6048—Mr. H. C. Marquand.
6149—Mrs. J. C. Lyon.
6250—
6351—Mrs. R. T. Wilson.
6452—Mr. A. Iselin.
6553—Mr. Robert C. Cutting.
6654—Mr. Robert M. Thompson.
6755—Mr. James A. Roosevelt.
6856—Mr. J. Pierpont Morgan.
6957—Mr. James Stillman.
7058—Mr. Charles Lanier.
7159—Mr. D. O. Mills.
7260—
7361—Mrs. Breese.
7462—Mr. C. P. Huntington.
7563—Mr. G. G. Haven.
7664—Mr. W. E. Conner.
7765—Mr. Samuel D. Babcock.
7866—Mr. A. Iselin, Jr.
7967—Mr. Edward Cooper.
8068—Mr. William Rhinelander.
8169—Mr. W. H. Tillinghast and Mr. William Kingsland.
8270—Mr. James C. Parish.
8371—Mr. L. P. Morton and Mr. George Bliss.
8472—Mrs. Frederic Goodridge.
8573—Mr. F. C. Lawrence.
87Brooklyn Philharmonic Concerts.—The first of the Brooklyn Philharmonic concerts, Mr. Arthur Nikisch conductor, took place last Saturday evening at the Brooklyn Academy of Music, preceded by the usual rehearsal on the Friday afternoon previous. The attendance was very large and the season will be a very prosperous one. Lillian Nordica was the soloist on this occasion.
89Paris Letter.
90PARIS, October 29, 1891.
92IN my last letter I mentioned the new organs recently completed by Merklin & Co., of Paris, for the cathedral of Guadalajara, Mexico, and to-day send the specifications, inasmuch as both the grand organ and the one for the chancel have excited a large amount of attention among the leading artists of the city, and an unusually large number of recitals have been given upon it, especially for an instrument its size (the grand organ).
94Messrs Guilmant, of La Trinité; Dubois, La Madeleine; Gigout, Saint Augustin; Dallier, Saint Eustache; Mahant (first prize of the Paris Conservatoire), and Mr. Godinez, the organist of the cathedral, have all either given public or private scances.
96The voicing of the grand organ is unusually good, and the reeds, for which the French builders are noted, are excellent, noticeably the trumpet and oboe on the swell organ. Following is the scheme:
98GRAND ORGAN.
99Bourdon………….feet. 16 Doublette………….feet. 2
100Montre…………. 8 Cornet………………… 8
101Flute harmonique… 8 Plein jeu (224 notes)…. 2½
102Bourdon…………. 8 Basson……………….. 16
103Salicional……….. 8 Trompette………….. 8
104Prestant…………. 4 Clarion………………. 4
105Flute octaviante…. 4
107CHOIR ORGAN.
108Bourdon………….feet. 8 Flageolet………….feet. 2
109Gemshorn………… 8 Cornet……………….. 2½ one of two readings
110Gemshorn………… 8 Cornet……………….. 8 one of two readings
111Flute harmonique… 8 Trompette harmonique… 8
112Flute d'echo…….. 4 Clarinette………….. 8 one of two readings
113Flute d'écho…….. 4 Clarinette…………. 8 one of two readings
115SWELL ORGAN.
116Bourdon………….feet. 16 Flute octaviante……..feet. 4
117Flute…………….. 8 Octavine…………….. 2 one of two readings
118Flute……………. 8 Octavine…………….. 2 one of two readings
119Bourdon…………. 8 Mix humaine…………. 8
120Viole de gambe…… 8 Basson hautbois……. 8
121Voix céleste…….. 8 Trompette harmonique… 8
123PEDAL ORGAN.
124Contre basse……..feet. 16 Violoncello………….feet. 2
125Grosse flûte…….. 8 Bombardine………….. 16 one of two readings
126Grosse flûte…….. 8 Bombardine…………. 16 one of two readings
127Quinte ouverte……13½ Trompette………….. 8
128Sonbasse…………. 16
130The combination pedals number sixteen, in addition to the "pédale de tonnerre" and balanced swell pedals, affecting both the swell and choir organs. The chancel organ has but two manuals and twelve stops and is electric in construction. There are two keyboards, one on either side of the instrument, being an advantage in the cathedral, as the organist can always be near the choir when services are held in different parts of the church. It has required over two years for the construction of these instruments.
132At the second Concert Colonne Mrs. Roger-Miclos played a new fantaisie for orchestra and piano, written for her by Saint-Saëns, this being its first performance, and is entitled "Africa." The composition is decidedly for the orchestra, the piano playing only a secondary part. It is a free fantaisie, the themes—of which there are a number—being characteristic and original. The performance was excellent and the work well received. Saint-Saëns is now arranging a ballet for the Comédie Française, for the revival of one of Molière's comedies which is soon to be given, and which will be completed before his departure from Paris.
134The first "Lamoureux" of the season occurred as well last Sunday, with a program comprising Mendelssohn's overture to "Ruy Blas;" Beethoven's second symphony, "La Jeunesse d'Hercule;" poème symphonique, Saint-Saëns; overture to "Hermann et Dorothée," Schumann, and some Wagner numbers.
136Mr. Guilmant appeared at the Trocadéro last week with large success, amounting almost to an ovation, and at the Comédie Française the three Coquelins are attracting large and distinguished houses by appearing in the same comedies together, notably "Le Malade Imaginaire," of Molière, and soon in "Le Mariage de Figaro."
138WILLIAM C. CARL.
140Otto Sutro on Martin Krause.
141Editors Musical Courier:
143I PROMISED you an account of a pleasant morning I spent in Leipsic at the house of Mr. Martin Krause, a prominent and most successful piano teacher.
145I first met Mr. Krause two years ago in Bayreuth, when on July 30, 1889, as chairman of the Leipsic Liszt Society, he courteously placed at our disposal a pew in the church where the Liszt memorial service was held, of which he had charge. We met again in Bayreuth last summer and were brothers in arms in a raid on the kitchen of Café Sammet. The distinguished conductor of the Boston Symphony Orchestra rendered such valuable aid on that memorable occasion that we successfully carried off to the dining room a plentiful supply of all the delicacies of the season then to be found in the first restaurant of the town—namely, half cooked beef. We were abundantly rewarded for our exploit by grateful glances from bright eyes, and though the fare was poor it was keenly relished by as hungry a crowd as ever came from the Wagner theatre hill after listening to a performance from 4 o'clock until 10. The beer, however, was good, genuine Munich Hofbräu, and made us forget the shortcomings of the menu.
147Can you, Mr. Editor, explain why listeners and participants always feel so hungry and thirsty after a musical or operatic performance? Among our little party were two sisters from Leipsic, Clara and Anna Polscher; bright, witty, beautiful girls. Miss Clara, an excellent and popular court singer, gave evidence of her ability on the following day, when, before a few specially invited guests, at Steingräber's piano rooms, she sang several songs by Schumann, Schubert, &c., with telling effect. She has a fine soprano voice of good range and well cultivated; sings with excellent taste, correct phrasing, true intonation and a great deal of expression. She will prove a most valuable addition to our list of concert singers when she comes to America next fall.
149Mr. Martin Krause, who played for her, proved to be an admirable pianist and accompanist. It was there that Mr. Krause invited me to visit him in Leipsic to hear his pupils play. So on September 11 last I found myself unexpectedly in that city, on my way to Dresden, and Mr. Krause hastily summoned a half dozen of his pupils to his studio, 26 Brandvorwerk strasse. Mr. Theodore Buker, of Australia, played Bach's "Well Tempered Piano" (second part) prelude and fugue, C major and D minor, and largo in D minor from Beethoven's sonata in D major, op. 10, No. 3. The young gentleman has good technic, plays intelligently and with excellent taste. Miss Baily, a young lady of about sixteen years old, from Nashville, Tenn., played Bach's chromatic fantaisie and fugue most admirably. She gave evidence of unusual talent.
151Henselt's etude, D flat major, from op. 2, and Liszt's "Sposalisio," by Mr. Wichmeyer, from Westphalia, in a thoroughly satisfactory manner. The last pieces were Liszt-Chopin's "Chant Polonaise" and Liszt's ballade No. 2 B minor, by Mr. Field, of Toronto, Canada, who also did remarkably well. It is but just to Mr. Krause to say that these young artists proved conclusively they were trained by an able, conscientious and painstaking master; indeed, after hearing them play I became convinced that he is one of the best teachers in Germany.
153I intended writing about some other musical matters, but I have already trespassed on your valuable space (stereotyped phrase) too much. Very truly, OTTO SUTRO.
155BALTIMORE, November 7, 1891.
157A Protest from Cleveland.
159Editors Musical Courier:
160NOVEMBER 2, 1891.
162I READ with interest your recent editorial concerning the appropriation of the Boston Symphony Orchestra's title by the "Orchestral Club," and heartily agreed with your idea that there should be something to prevent such thieving. I was more than ever convinced of this when I read the inclosed advertisement in our two principal newspapers yesterday morning. It speaks for itself, and one glance at it is enough for a great many people to buy a ticket, only to find they have been duped by a misleading title. Their advertising is plainly on the same line as their plagiarism of the name.
164I do not wish to take up your space, as I am not a regular correspondent, but I would like to say a word about the first concert of the season of the Philharmonic Orchestra. It was decided to work on a somewhat larger scale this year; to give concerts in Music Hall and engage some noted soloist to assist at each concert. The opening was on last Tuesday evening, the 27th ult., the enlarged orchestra (seventy members) being assisted by Fursch-Madi.
166While the audience was not as large as was desired, it was an appreciative one and made up in enthusiasm what it lacked in numbers. Furthermore, it remained seated until the close of the last number, and even applauded that number heartily, a very rare procedure with Cleveland concert goers. The orchestra was in excellent condition. The handling of the widely varying numbers of the opening program showed to a marked degree the advancement they have made under the careful and painstaking, but ever progressive leadership of Emil Ring. Of course it shows room for improvement; that would be expected. There was noticeable at times a want of unity among the woodwinds; also now and then a tendency of the other parts to overpower the strings. But this was not to such an extent that rendered it disagreeable—only a reminder of what may be expected to be remedied in the future. I will not attempt to mention any particular numbers of the program further than to say that probably the best all round work was on the Schubert symphony. Mascagni's intermezzo was very well played with organ accompaniment, and it is hardly necessary to say, was redeemed.
168Fursch-Madi was very well received and pleased the audience. I have heard a few complain because she did not respond to encores, but this is perhaps due to a habit we have fallen into.
170Emil Ring conducted the whole orchestral program without score or notes of any kind, and he, like the orchestra, was at his best.
172The general verdict was that the concert was the best the Philharmonic Orchestra has yet given in Cleveland.
174The handsome face and exquisite playing of John Marquardt are absent, however.
176C.
178FIRST CONCERT IN STAR COURSE, SEASON 1891 AND 1892.
180THE BOSTON SYMPHONY
182Orchestral Club, Mr. Arthur Laseur, violoncello; Mons. Louis Kapp, first violin; Mr. Frederick E. Hahn, second violin; Mons. Fr. Rucquoy, flute; Angermunde, contra bass; Herman Burkhardt, violin and cornet; Miss Laura Burnham, Prima Donna Soprano; Mr. John Lloyd, Tenor. General admission, 25c., 50c. and $1. Get season tickets at B. Dreher's Sons', Arcade.
184[The above is an exact copy of the advertisement sent to us by our correspondent. It does indeed "speak for itself."—EDS. MUSICAL COURIER.]
186A Clarke Musicae.—Charles Herbert Clarke will give a fortnightly musicale to-morrow evening at his studio in the new Music Hall, Fifty-seventh street and Seventh avenue. Some of Mr. Clarke's pupils will sing and Mr. Victor Herbert will play the 'cello.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.