Scan 12
Musical Courier 1891-11-11: Vol 23 Iss 612, 1891
176 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 545. See the scan on archive.org.
1THE MUSICAL COURIER.
3cial success, the house being crowded to excess on several nights. The company comprises many good artists; besides Minnie Hauk, Basta, Tavary and Louise Natali appeared as prime donne, sharing the honors in the rôle of "Santuzza" in "Cavalleria Rusticana," which opera was performed three times, public interest increasing with each rendition. While the first two mentioned ladies have a European reputation it is not too much to say Louise Natali is a worthy rival, which was not only shown in the above mentioned opera, but more especially in "Traviata." Her histrionic talent is on a par with her voice culture. As "Violetta" she evinced all the intensity of dramatic fire which had made the rôle famous by other celebrated artists, while her vocalization and the compass of her voice—reaching with ease up to high E flat in the finale of the second act—fairly roused the audience to enthusiasm and rapturous applause. Mrs. Natali belongs to St. Louis, where she received her first musical education, making her début here about sixteen years ago in the old Temple Building, when her teacher, Henry Wolffson, now the well-known concert agent, brought out the garden scene from "Faust," when she sang the part of "Marguerite" very creditably. An amusing part in the "Traviata" performance was that the heroine sang in English, Mr. Bovet, as "Alfred," made love in French, and the rest of the company responded in Italian. For Mrs. Natali there is an excuse, as she was suddenly called upon to sing the part, for which she was not cast. There is, however, none for Mr. Bovet, as he perpetrated the same joke in "Carmen," singing his part in French, while all the rest was given in Italian. Mr. Montoriol is a good tenor and a fair actor. Next to Del Puente, whose artistic merits are well known, Mr. Stormont distinguished himself by his conscientious work, although at times too great a strain on the upper range of his voice caused him to sing too flat. Mr. S. Behrens, the musical director, deserves great credit for his share in the work. All went well except "Lohengrin," for which the chorus, otherwise excellent, was not strong enough.
5This week the Carleton Opera Company appeared at the Olympic in Strauss' "Indigo." Newspapers did not speak very flatteringly of the company after the first performances, and kept singularly silent the rest of the week.
7Theodore Thomas, with his Chicago Orchestra, is booked for two concerts, November 2 and 3, at the Exposition Hall. The attendance promises to be good.
9W. Malmene. one of two readings
10W. M. ALMENR. one of two readings
12From the "Sphinx City," Chicago.
14October 27, 1891.
16Music has learned the discords of the State,
17And concerts jar with Whig and Tory hate.—Hughes.
19Music in the beginning was for Eva's reason—well, because!
21I believe in Beethoven, Wagner and Tschaikowsky.—Thomas' New Creed for Orchestra.
23WHEN I hied me to "The Hub" in the time of Gericke I found there the pro and anti Gerickean programmers. Even more did I find: namely, such as disagreed entirely with his methods. In this pseudo Hub the apple of the Columbian fair music has fallen to Paris-Thomas, and already we hear the rumors of war in the faultfindings concerning his program making. Pietro, the swan of Wolkins, has figured at both opening feasts, and many consider that the effort to propagate Slav ideals in the country that owns Alaska will not be a game worth the candle. Withal, however, that "Hamlet" is a powerful conception. What if the mighty Canti, come down through secula secundorum in the Greek church, greet us out of an ancient missal side by side with a fierce Asiatic yell? What if that Berlioz-like "Ophelia" theme for oboe be so semi-Oriental and semi-Occidental? What if he be a wild, bloodthirsty and wave riding "Hamlet"? What if his ghosts rave and gibber à la Walpurgis night? What if there be a "Lohengrin" tinge resembling the "Nie sollst du mich befragen" warning to "Elsa?" The work naughtless has the hall-mark of Walhal upon it. As the Angel-Saxon had perforce to assimilate Danish and Norman elements, e'en so will our Western civilization have the titanic power of the Slav mind and art ideal impressed upon it willy-nilly! The work is as a superb arena chariot for an orchestra, and it was given with a Michaelangeloesque breadth of color.
25"Murder most foul!" glares hideously from out the first part. "To be or not to be" is mingled with pictures of love and of the grave, and in the grand climax surely we hear
27"Let keepers of the trumpet speak,
28The trumpet to the cannonner without,
29The cannons to the heavens, the heavens to earth."
31True it is that, as did Timotheus add a hyperboleon or eleventh tone to the lyre, so has Pietro Iliitsch added to the scope of the great orchestra which should know no nationality nor prejudice.
33Like Plato's man in the cave some musicians and critics are veritable troglodytes (or cave dwellers), and they dread the broad glare of the unaccustomed daylight of the to them non-understandable. Indeed, strange to say, would you believe that it is even au fait in a certain city for a critic to go to a recital when the last piece but one is two-thirds finished and then calmly go home and with ludicrously bumptious, Hanslickian narrow mindedness condemn the program holus bolus, judging the world by his own bohemian village, and I suppose in New York it is quite customary for one prominent critic to copy the sentiments in toto, but otherwise worded (not having been present at all) of another? In very truth a royal road to critical acumen! The above, of course, could never happen in Chicago.
35When thinking of the late visit of the great Russo composer to this "country of the future," home in futuro of a new papal, Russo-Hibernian cult, as it has been of the Wagnerian, the witty lines from Alex. Moszkowski's humorous history of music relating to Pope Julius' summons of Praenestinus to Rome occurred to me: one of two readings
36When thinking of the late visit of the great Russo composer to this "country of the future," home in futuro of a new papal, Russo-Hibernian cult, as it has been of the Wagnerian, the witty lines from Alex. Moszkowski's humorous history of music relating to Pope Julius' summons of Prænestinus to Rome occurred to me: one of two readings
38"Now, pax vobiscum, listen to Me. I need a singer—how do you do? Not much work a day o' tin one of two readings
39"Now, pax vobiscum, listen to Me. I need a singer—how do you do? one of two readings
40Not much work a day o' tin one of two readings
41The job is open, ye—'ply within."
43That calm, dignified and eminently vocal air of Gluck, "O del mio dolce ardor," from "Paris and Helen," was sung with delectable smoothness and 'cello-like tone quality by Galassi (who stays ever young and g'lossy). With the ancient we can still hold "Naturam expellas forca tamen usque recurret," which would mean in this instance that not only will "nature expelled by force return again," but that singing is the main object in singing, and of Galassi it is true that he really sings. It was a hopeful augury for the future to hear a leading Italian singing with self evident fervor "Wotan's Farewell," but the "'lingua Toscana" in aria Wagneriana" made a slightly perceptible jar in the Teutonic train of thought. Say, when are we to have some Sgambati-Mancinelli-Smettana-Smareglia?
45Thomas pursues an interesting course in his programs.
47Symphonies………………..Beethoven
48Schumann
49Schubert
50Saint-Saëns
51Solos………………..Tschaikowsky
52Gluck
53Dvorák
55The new concert of Dvorák for violin, to be played by Max Bendix, will be the feature of the next concert, after which we shall have a Wagnerian lunga pausa of five weeks. The opera company will give us selected operas from a lengthy répertoire. I trust that they will not resemble many selected oysters in their staleness. Mayhap they will select "Barber of Seville," "Don Juan," "Fidelio" and "The Meistersingers."
57Hearing and reading so much regarding new vocal methods has made me recur to my old friends again, e. g.:
59"The air is driven by the intercostal muscles with power against the larynx and thence through the vocal chink, &c."—Galenus, 181 A. D.
61"Voice is a sound produced by intellectual impetus and assisted in its creation by the imagination. * * * It is made nowhere save in the vocal tubes. * * * Animals without lungs are dumb. * * * The lungs contain airy spirit, &c."—Aristoteles, 384 a. c.
63It would seem to me that the ancients had delved as deeply as any of our modern discoverers in vocal physiology and psychical voice matters. Many so-called methods are mere rehearses of the parent wisdom of such hoary sages from the ages gray. In the "Music Review," of Chicago, published by Clayton F. Summy, who probably thinks he has as good a right to publish a paper (even if he does keep a music store) as has John Church, O. Ditson, Cincinnati College of Music or the New England Conservatory, I find the following, which I append:
65A beautiful Hindoo legend tells of one who became possessed of a great treasure, which at first he sought to retain for himself alone, but, being finally led by the promptings of his better nature to share it with others, found his own possessions augmented, so that he was far richer than when he selfishly retained all.
67Now the critic of to-day should above all be a well read man and have a treasure to disseminate. Some, however, seem to study how to write much and say little.
69Science is knowing, art is doing.—Ruskin.
71The critic should know all about what the artist does, even if he cannot do it. "Does he?" is all that the artist asks to himself when he in his turn weighs the critic, and does he not often decide justly that "he is found wanting?" Also the following lines are well worth another reading:
73BAYREUTH, 1891.
75[The Critic.]
77Go forth, O friend, go forth across the sea
78To hear the music of the master band—
79The music that shall sound in every land
80The mightiest pean of the century.
81And when by Wagner's grave you chance to be,
82Put forth foot— and find the wandering band
83Of loitering pilgrims who entranced stand,
84A lusty branch of some wild flowering tree.
85No simple garden flowers to be brought,
86Who will sing with words in wonder and in light,
87And watched with majesty of human thought
88A music wrought of mortal love and might;
89Who of the singing spheres an echo caught,
90To teach the lesson of eternal thought.
91—A. E. P.
93At this juncture I recall a sentence from the late philosopher-composer-poet's writings:
95"Is it possible that, even with the co-operation of the other most luxuriant arts, a more magnificent and elevated unicum could be constructed than that which the orchestra builds in the reproduction of a Beethoven symphony."—Wagner.
97As the most notable singers of the Italian and French schools are to be in our opera season we shall be able to make most interesting studies as to the difference in the voice, production, breathing and dramatic action of an Eames or Nordica as contrasted with that of a Lehmann.
99I would fain listen to the tones of the voice of Lilith Adam's first wife. Untouched by the world's artificial show they must methinks have been passing sweet and thrilling.
101W. Waugh Lauder. one of two readings
102W. WAUGH LAUDER. one of two readings
104San Francisco Letter.
106San Francisco, October 24.
108THE Orpheum, irreverently called the O'Farrell Street Morgue, so many companies having died there, is really one of the most commodious auditoriums in town. It has been closed for the last month or two, during which a large announcement has hung over the doors threatening a reopening with the "Columbia Opera Company," an aggregation of talent headed by the name of Guille, who came to the house last year with the Hess Company, which did so well till their répertoire gave out.
110After several postponements made regarding the date of opening the new enterprise finally started on the 19th with "Trovatore," sung in polyglot, to a very good house and quite satisfactorily. "Faust" followed, and next week we are promised the celebrated "Cavalleria Rusticana." The company promise many other interesting works that are seldom heard here, and it is to be hoped that it will escape the fate of many predecessors on the Orpheum stage and survive long enough to fulfill its promises.
112Mr. J. H. Rosewald has undertaken a series of illustrated lectures on music and art at the Music Hall in Kohler & Chase's new building. The first one came off on the 16th and was attended by more than enough people to fill the cosy little place. The plan is to give specimens of music, poetry and art at different epochs, gradually coming down to modern times. Mr. Wm. Greer Harrison, president of the Olympic Club, contributes the dissertations on the poets; Mr. S. H. Walter furnishes the pictorial, leaving the musical contingent to Mr. Rosewald and his friends. Judging from the result of the first effort the plan is a worthy one and will no doubt prove successful. It certainly should be instructive as well as interesting. Mr. Harrison is a gentleman connected with insurance, but is also a scholar and bibliophile. He is the great central spirit of the Olympic Club, which, under his presidency, has bought a large lot and begun the erection of a new building on a grand scale, whose corner stone was laid on the 17th with much pomp and circumstance of oratory and song. Mr. Walter and Mr. Rosewald are each quite equal to keeping up their end of the undertaking.
114Mrs. Marriner Campbell, who has been a leading soprano in concert, oratorio and church in San Francisco for many years, during the last eight of which she has held the position of soprano in my choir at Grace Cathedral, has resigned and retired from the field in which she has been so long an ornament, universally admired, regretted and highly esteemed for her worth as a woman in society as well as her excellence as an artist. She is one of our most productive vocal teachers and brings to bear upon this branch of art—in which there is such a large preponderance of quackery and incompetency engaged in "voice building" and all the other swindles wherewith to catch the ambitious songsters and their coin—great experience built upon the best instruction obtainable in Europe and this country, combined with intelligent and conscientious effort to teach pupils as they should be taught and not merely for revenue. Fortunately she will continue to teach, and though we cannot hear her beautiful singing as often as of yore we may still hear her style and method imitated by her many disciples.
116Numerous applications were made for the position vacated by Mrs. Campbell, as it is one of the few first-class choir engagements in the city. None seemed to come at all up to the standard set by her till we were fortunate enough to find the wife of an army officer, Mrs. Brecheim, formerly of Philadelphia, who accepted the place and is giving great satisfaction to everyone. I hope the exigencies of military service will not compel her husband to be "transferred" for a long time to come, so that we may keep so good a singer with us.
118The Philharmonic Society, under direction of Hermann Brandt, began its thirteenth season with a fine concert at Metropolitan Hall on the 14th inst. They were assisted by Miss Anna Miller Wood, vocalist, and Mr. Nathan Landsberger, violinist. The latter played Wieniawski's D minor concerto. The orchestra gave the C minor symphony of Gade, the ballet music from Rubinstein's "Ferramors," a serenade for strings, by Herbert, and the "Raymond" overture, by Thomas.
120Miss Wood sang "Pygmalion's" air from "Galathea" and a couple of songs. The concert was a success.
122The great military band of the city of Mexico, which has been playing an engagement in the Northwest, where they were much admired, has stopped here on its way home; and, under the management of Mr. J. H. Love, gives three concerts at the Opera House and a couple at Woodward's Garden. They are favorably compared with Gilmore's forces.
124The extravaganza "Sinbad" has been filling the Baldwin Theatre for several weeks, and is to be followed by Fanny Davenport in "Cleopatra" next Monday. The Tivoli runs in the same steady gait, with "Boccaccio," "Madame Angot," "Fledermaus" lately. We are next to have "Freschutz." "From grave to gay, from lively to severe" might do as a motto for a house which produces everything in the way of opera. Arthur Messemer, one of the most useful tenors they ever had there, has been re-engaged after some months' vacation.
126H. M. Bosworth.
128Italian Opera in Chicago.
130WE are in receipt of a private wire communication of our Chicago correspondent which indicates that the opening night of Italian opera on Monday night at the Auditorium was not an unqualified success. Full reports have, of course, to go over till next week. Meanwhile it may be stated that the large building was anything but overcrowded, but this may be owing to the fact of a steady downpour of rain.
132Miss Eames' voice was inadequate for the part of "Elsa," florid music being more her style than Wagner's dramatic utterances. Moreover, she seemed very nervous, and unable to do herself justice.
134Jean de Reszké's screwed up baritone voice also did not quite come up to the expectations of the public, who had been led to believe that they would hear a genuine tenor. His interpretation of the title part, however, was artistic.
136His brother Edward, in the part of "King Henry," made a deservedly greater success. He is a true artist, both vocally and dramatically, and his voice is a full basso cantante.
138Miss Ravogli was the "Ortrud," Coletti the "Telramund," and Serbolini the "Herald" of the occasion. The latter pleased the audience, while Coletti's mannerisms and his chewing voice failed to elicit applause.
140The orchestra, which was that of Theodore Thomas, and every member of which knows "Lohengrin" from memory almost as well as Vianesi, who conducted the opera, was the most satisfying feature of the performance. The chorus was not in particularly good trim, but the mise-en-scène was gorgeous.
142The Harris-Robinson Musicales.—Purdon Robinson and Victor Harris announce a series of six afternoons of music at their studio in the Alpine, Broadway and Thirty-third street, on the following dates: Tuesdays, November 17, December 15, January 19, February 16, March 15 and April 10, at 4 o'clock. The following artists will participate:
144Mrs. Anna Mooney-Burch, soprano.
145Mrs. Tyler Dutton, soprano.
146Mrs. Margaret Ellico, soprano.
147Mrs. Hattie Chappier-Morris, contralto.
148Miss Adelaide Foresman, contralto.
149Mr. Gerrit Smith, organist.
150Mr. W. H. Rieger, tenor.
151Mr. Wm. J. Lavin, tenor.
152Mr. Chas. Herbert Clarke, tenor.
153Mr. Walter J. Smith, pianist.
154Miss May L. Smith, flautiste.
155Mr. Franz Wilczek, violinist.
156Miss Laura Sedgwick Collins, reader.
158Messrs. Harris and Robinson, who are a talented twain, will produce some novelties at these afternoons.
160WANTED—Tenor soloist, pupil of Randegger and Shakspeare, desires church appointment in New York city; good musician and sight reader; unexceptional references, testimonials and press notices. Address "Tenor" care of MUSICAL COURIER.
162WANTED—Position as organist or assistant organist with choir director of good standing. Address "D. W. C.," care of MUSICAL COURIER, 25 East Fourteenth street, New York city.
164MONSIEUR HENRI FALCKE,
165Piano Virtuoso.
166First prize of the Paris Conservatoire. Lessons in Piano Playing and Theory. Mr. Falcke speaks English, German and Spanish. Address, 165 Avenue Victor Hugo, Paris.
168The National Conservatory of Music of America,
169126 and 128 EAST 17th STREET, NEW YORK.
170ENTRANCE EXAMINATIONS:
171ORCHESTRA—November 2, 4 to 6 p. m., Mr. FRANK VAN DER STUCKEN.
172CHORUS—November 4, 8 to 10 p. m., Mr. VAN DER STUCKEN.
173OPERATIC CHORUS—November 2, 8 to 10 p. m., Mr. S. CAMILLO ENGEL.
174FREE SOLFEGGIO CLASSES—For Church Choirs, Professional Singers and others; Mr. EMILE GUYON; Wednesday, November 11, from 2 to 5 and 8 to 10 p. m.
175CHAS. INSLEE PARDEE, Secretary.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.