Scan 4
Musical Courier 1891-11-11: Vol 23 Iss 612, 1891
368 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 537. 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. 612.
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, NOVEMBER 11, 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., Lindenstrasse, 20, Berlin.
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
25Sembach
26Christine Nilsson
27Scalchi
28Trebelli
29Marie Roze
30Alfred Grünfeld
31Etelka Gerster
32Nordica
33Agathe Yorke
34Emilie Ambré
35Emma Thurnby
36Teresa Carreño
37Mollie Clark—2
38Minnie Hahn—2
39Materna
40Albani
41Ant Louise Cary
42Emily Winant
43Lena Little
44Murio-Celli
45Andrew Carnegie
46James T. Whelan
47Eduard Strauss
48Elenor W. Everest
49Jenny Broch
50Marie Louise Doti
51Marie Jahn
52Fursch-Madi—2
53John Maquardt
54Blanche Lunsford
55Blanche Roosevelt
56Antonia Mielke
57Titus d'Ernest
58Anna Butler-Hills
59Charles M. Schmitz
60Friedrich von Flotow
61Franz Lachner
62Heinrich Schachner
63Klaus C. Stanton
64Heinrich Grünfeld
65William Courtney
66Josef Staudigl
67M. Bowman
68Mrs. Mary Richards
69Florence Clinton-Sutro
70Arthur Friedheim
71Charles Eddy
72Mr. & Mrs. H. Clarke
73Fannie Bloomfield
74S. E. Jacobsohn
75C. Mortimer Wisse
76Elsie L. Heckle
77Edward H. Hahn
78Adolf Henselt
79Eugen d'Albert
80Lilli Lehmann
81Wilhelm Kneisel one of two readings
82Wilhelm Kienbus one of two readings
83Franz Kneisel one of two readings
84Leandro Campanari
85Franz Kummel
86Blanche Stone Barton
87Amy Shawkin
88Thomas Ryan
89Achille Errani
90C. Jos. Braunsch
91Henry Staudigl
92John F. Rhodes
93Wilhelm Gericke
94Frank Taff
95C. V. Van Weber
96Edward Fisher
97Kate Rolla
98Charles Rehm
99Harold H. Holph
100Minnie V. Vandever
101Adele Aus der Ohe
102Karl Klindworth
103Eduard Hahn one of two readings
104Eduard Schube one of two readings
105Melen D. Campbell
106Alfredo Barilli
107Wm. R. Chapman
108Otto Roth
109Anna Carpenter
110W. L. Blumenschein
111Leonard Labatt
112Albert Venino
113Jose Rheinberger
114Max Ritter
115Helene von Doenoff
116Adolf Jensen
117Hans Richter
118Margaret Reid
119Rudolf Rieck
120Merrill Hopkinson, MD
121R. S. Bonelli
122Paderewski
123Schauman one of two readings
124Schaubergen one of two readings
125Arrigo Boito
126Paul von Janko
127Carl Schroeder
128John Luns
129Edmund C. Stanton
130Heinrich Gudehus
131Charlotte Huhn
132Teresina Tua
133Lucca
134Ivan R. Morawski
135Leonard Winkler
136Costanza Duhita
137Carl Reinecke
138Heinrich Vogel
139Johann Sebastian Bach
140Peter Tschakowsky
141Jules Massenet—2
142Adolph M. L. Greuter
143J. H. Hahn
144Thomas Mauch
145Louis Lambert
146Pietro Mascagni
147Richard Wagner
148Theodore Thomas
149Dr. Darmoch
150Camminati
151Julius von Bernuth
152Constantin Sternberg
153Dengremont
154Galasso
155Hans Balatka
156Mathilde Wernicke
157Librati
158Johann Strauss
159Anton Rubinstein
160Del Puente
161Josephy
162Julia Rive-King
163Hope Glenn
164Louis Blumenberg
165Frank van der Stucken
166Frederic Grant Gleason
167Ferdinand von Hiller
168Julius Rietz
169Max Heinrich
170A. L. Guelle
171Oscar Muns one of two readings
172Otto Muns one of two readings
173Anton Udvardi
174Alcuni Blum
175Louise Natali
176Bibio Weefield one of two readings
177Blind Weefield one of two readings
178Carlyle Petersen
179Carl Retter
180George Gemünden
181Johann H. Hahn one of two readings
182Ludwig Hering one of two readings
183Von Zands one of two readings
184Van Zands one of two readings
185W. Edward Heimendahl
186Mrs. Clemelli
187Albert Bagby
188W. Waugh Lauder
189Mrs. W. Waugh Lauder
190Mendelssohn
191Hans von Bülow
192Clara Schumann
193Louise
194Samuel S. Sanford
195Franz Liszt
196Christine Dossett
197Dora Dargies
198A. Stanley
199Ernst Catzenhuse
200Heinrich Hofmann
201W. F. Hahn
202Carl E. Martin
203Jennie Dutton
204Walter J. Hall
205Conrad A. George
206Carl Herrmann
207Emil Steger
208Paul Kalisch
209Louis Sosnaski one of two readings
210Louis Sosnowski one of two readings
211Eugen Hohenleit Huss
212Neally Stevens
213Dyas Flanagan
214Mr. and Mrs. Carl Hild
215Anatole Liadoff
216Moriz Rosenthal
217Victor Herbert
218Martin Roeder
219Joachim Raff one of two readings
220Joachim Schaff one of two readings
221Felix Motil
222Augusta Ohrström
223Mamie Kunkel
224Dr. T. Ziegfeld
225C. F. Chauveau
226Villiers Stanford
227Louis C. Elson
228Anna Mooney-Burch
229Mr. and Mrs. Alves
230Ritter-Gosch
231Adèle Lewing
232Pauline Schüeller-Haag
233Marchesi
234Henry Mason
235P. S. Gilmore
236Kathinka PaulsenWhite
237Hubert de Blanc
238Mrs. Morison-Bishop.
239Max Bruch
240L. G. Gottschalk
241Andrée de Kontski
242S. B. Mills
243E. M. Bowman
244Otto Bendix
245W. H. Sherwood
246Stager
247Victor Nessler
248Johanna Cohen
249Charles F. Tretbar
250James H. Johnson
251E. A. MacDowell
252Theodore Reichenbach
253Max Treuman
254C. A. Capell
255Monte Carlo
256Mrs. Helen Ames
257S. G. Pratt
258Rudolph Aronson
259Hermann Winkelmann
260Donizetti
261William W. Gilchrist
262Ferranti
263Johannes Brahms
264Meyerbeer
265Moritz Moszkowski
266Anna Louise Tanner
267Piloteo Greco
268Friedrich Rückert
269Fannie Hirsch
270Michael Banner
271Dr. N. Penfield
272F. W. H. Schuberg
273Emil Mahr
274Otto one of two readings
275Carl Faellen one of two readings
276Belle Cole one of two readings
277Carl Schucker one of two readings
278Otto Faelten one of two readings
279Carl Faelten one of two readings
280G. W. Hunt
281Georges Bizet
282John A. Brockhoven
283Edgar H. Sherwood
284Ponchielli
285F. H. Torrington
286Carrie Hun-King
287Palline l'Allemagne
288Verdi
289Hummel Monument
290Berlioz Monument
291Haydn Monument
292Johann Svedensen
293Strauss Scheheraz
294Anton Dvorak
295Saint-Saëns
296Pablo de Sarasate
297Julien one of two readings
298Jules Massenet one of two readings
299Albert R. Parsons
300Ther'Herbert-Foerster
301Bertha Pierson
302Carlos Sobrino
303George Nowell
304William Mason
305Pasdeloup
306Anna Lankow
307Maud Powell
308Max Alvary
309Josef Hofmann
310Händel
311Carolina F. Pinner
312Marianne Brandt
313Gustav A. Kerker
314Henry Duzenski
315Ruth Bach
316Fritz Giese
317Anton Seidl
318Max Leckner
319Max Spicker
320Judith Graves
321Hermann Ebeling
322Anton Bruckner
323Mary Howe
324Alicia Chiere one of two readings
325Alicia Claren one of two readings
326Mr. and Mrs. Lawton
327Fritz Kreisler
328Madge Wickham
329Richard Burmeister
330W. J. Lavin one of two readings
331W. J. Larvin one of two readings
332Niel W. Wade one of two readings
333Niel W. Sade one of two readings
334Hermann Levi
335Edward Chadfield
336James H. Howe
337George H. Chickering
338John C. Fillmore
339Helene C. Livingstone
340M. J. Niedzinski
341Fred S. Penczek
342Alfred Sormann
343Juan Lurie
344Carl Busch.
345PADEREWSKI, the most remarkable pianist of later days, to accept rumor, will soon be in the midst of us and will be heard next Tuesday evening at the new Music Hall.
346A S the subject of pitch is of the greatest interest to musical people, the attention of the readers of THE MUSICAL COURIER is called to a comprehensive discussion of the subject which will be found in the trade department of this issue.
347F OR the benefit of those weary critics who are forced to attend both the Seidl and Damrosch Sunday evening concerts it is suggested in the most amiable spirit to these two conductors that they arrange their programs so as to enable the music critics to cover both concerts and not miss the musical good things at either. Verb. sap.
348T HE "Evening Sun" in an interesting article about Secretary Balfour, of England, winds up by saying:
349A less commendable characteristic is a passion for playing the piano during long periods and at unseasonable hours. It is said that Mr. Balfour is capable of hammering one of these instruments for a whole long night, if he is in a certain mood.
350The possible cause of Parnell's death is here hinted at.
351I SN'T this good? The music critic of the New York "World" in his screed last Sunday thus holds forth on the wearisome topic, Wagner's vocal method:
352If future operatic composers were to continue to write for voices after the manner of Wagner, who, if he knew how, certainly took no pains to write singable music, it would be but a short time before the whole race of operatic singers would be a thing of the past.
353You certainly can't blame Wagner for not keeping the vocal requirements of "Robin Hood" in view, can you, Mr. De Koven?
354L AST Sunday's "Recorder," in commenting on the Boston Symphony Orchestra, has the following pertinent things to say of Mr. Nikisch and his band:
355There was a certain sense of joyousness in listening to the work of the Boston Symphony Orchestra at Chickering Hall last week, so rich, so full was its musical utterances. Perhaps there may be on the farther shores of the Atlantic bands better in technical powers, but there are few that play with such elasticity, snap and freedom as this one.
356To be sure the personality of the conductor pervades, permeates, in strict fact envelops the orchestra, and very often the compositions played; but it is ever thus. When we get a subjective conductor we criticize and prate hugely of "objecting," and if we are forced to listen to a Bilow who skeletonizes his readings so that the bare ribs of a symphony protrude pointwise, we long for the individual conductor and will not be confronted by mere scholarships devoid of warmth.
357Arthur Nikisch is a conductor who is radical in his readings of the classics, and classic in his readings of the modern school. The latter is noticeable in Wagner's music, which Nikisch handles with a moderation that delights the anti-Wagnerite. Singular it is that this fiery, magnetic little Hungarian with the beautiful, dainty hands should cool down in the presence of the mighty Richard and search rather after meanings than dynamic effects. Familiar as was the great aria which Nordica sang to the majority of the audience, yet new beauties were brought to view in the introduction; or was it that perfect balance, that supreme finish that seemed to give the lie to those opponents of Wagner who pronounce his music rough and incapable of finesse as to treatment?
358I T would seem that American composers are beginning to find a good market for their brain productions in Germany. At least several houses have lately commenced to bring out their works, and among the publishers' names none is met more frequently than that of Frederick Luckhardt, of Berlin, whose firm seems to be a kind of central meeting place for American composers. Lately he published a festival march, op. 12, by Frank Van der Stucken, the same composer's orchestral episode, "Pagina d'Amore;" his prelude to the second act of the lyric drama "Vlasda," and orchestral as well as piano score of the now well-known "Tempest" music. Of Johannes Werschinger, Luckhardt published two piano pieces, op. 6, a "Memorial Leaf," op. 4, for violin and piano, and a song entitled "Forget Me Not." Max Spicker is represented with an entire song album, D. Melamet with four songs, op. 2. Of John R. Lund appeared "The March to Battle," for solo voices, male chorus and orchestra (or piano), op. 12, and of Victor Herbert "The Captive," op. 25, of which work THE MUSICAL COURIER spoke so highly on the occasion of its recent first performance at Worcester. Bruno Oscar Klein publishes with Luckhardt his "German Folksongs," op. 9, and Richard Burmeister's piano concerto in D minor was also brought out by this enterprising firm. If we should happen to have forgotten any others they will duly be mentioned upon information. Truly there is hope for the American composer if he can thus invade the capital of Germany.
359M R. HENRY T. FINCK returned to New York last week from Switzerland and Italy, where he has been since July engaged on a new book on a musical topic. He has resumed his duties as music critic on the Evening Post and as lecturer on the history of music at the National Conservatory. Mr. Finck has come back from his travels more convinced than ever that in the higher branches of music Italy is behind all other countries in Europe, notwithstanding "Cavalleria Rusticana," which he considers an absurdly overrated opera, with not one-tenth of the musical genius that is to be found in one of Strauss' operettas. Henry T. is certainly nothing if not radical!
360T HE multiplicity of music halls is thus commented upon by the "Independent" of last week:
361"Unto which hall, Bezonian? Speak or die!" In regard to references to one important musical auditorium in this city, the journalist or anyone else, for that matter, is just now in a bit of a dilemma. A year ago for the word "music hall" one had no use. Now, all at once, it is almost generic. When the large structure on Seventh avenue was dedicated to the public Mr. Andrew Carnegie's name was never officially given to the building his money erected. His name as erector was carved over its doors as a perpetual hint. People from the first have spoken and written of it as Carnegie Music Hall; but it never was christened that with authority, and that name really is not part of it. It is simply the "Music Hall," the property of the Music Hall Company of New York. The "Carnegie" distinction is quite superstitious if perfectly just. And yet there is that inscription! And, furthermore, the Music Hall never was a gift to the city, nor meant to be; and it was and is merely a wise and praiseworthy public and special convenience, conducted like others. Much better if it had been formally styled the "Carnegie Music Hall," or something of that sort, as in justice and compliment it well might have been styled. The name would have saved the journalistic topography in writing for the sake of his accuracy. For now have we not another Music Hall that has to be described even more topographically? And who knows how soon another one may not be in the field, embarras de richesse? After all, a good name, a short name and a distinctive name is as valuable to a public concert auditorium as it is to a man or a newspaper.
362L AST Sunday's "Times" talks about the coming Italian opera season this way:
363Mr. Abbey has gathered under his management, with the assistance of Maurice Grau's experience, a company which is unquestionably strong in vocal merit. Whether the application of the vocal spirit and traditions of the so-called Italian stage to some of the masterpieces of the Teutonic composers will please this public is a question for considerable debate. Mr. Abbey purposes giving Wagner's "Die Meistersinger" in French, with an eminent French baritone, Lasalle, in the rôle of "Hans Sachs." The genuine Wagnerite is not likely to view this prospect with complacency. It is all but impossible for a Frenchman or an Italian to conceive the true spirit of Wagner's intensely national comedy.
364What we shall get, in all probability—this is conjecture based on tolerably good grounds—is a beautiful vocal rendering of Wagner's music, together with a complete failure to reach the spirit of the play. As far as "Hans Sachs" is concerned, we have heard the music 'sung' in a manner that left little or nothing to be desired. But it is undeniably true that we have yet to hear "Am Stillen Herd" and "Morgelnich Leuchtend" as they can be sung. So when "Die Meistersinger" is served up to us in French, with a number of exceptionally gifted and highly trained vocalists in the cast, we shall have the body of Wagner's music revealed to us in all the beauty of its chaste proportions. But whether it will appear to us then as an expressionless piece of Greek sculpture with a soulless face, instead of as a less classic but more impassioned Teuton, is what we cannot now tell.
365It does seem as if we should never get all sides of a great operatic art work into view at once. So we would better make the most of what we do get and not complain about the invisibility of the unseeable.
366This reminds one of poor Mr. Wilfer in Dickens' "Our Mutual Friend," who never had the happiness of being the owner of a completely new suit of clothes at one time. But don't we all have to take our art in that manner? Perfection absolute is a myth.
367T HE "Rheinischer Kurier," of Wiesbaden, in its issue of the 18th ult. contains an article of two columns and a half, written by Otto Felsing, of Berlin, and devoted exclusively to "showing up" the concert agency of Hermann Wolff, of Berlin. THE MUSICAL COURIER has long ago and several times pointed out the dangers of this monopoly to German concert life, to the development of musical art and to the advancement of deserving but unknown talents who are not able to pay for Mr. Wolff's services. This article shows, what we did not know heretofore, that Wolff actually rented the two most important Berlin concert halls for every evening of the season, and that therefore nobody can give a concert there who
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