Scan 5
Musical Courier 1891-11-11: Vol 23 Iss 612, 1891
112 lines. Read by computer on 23 September 2026. Printed page 538. 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.
1does not suit Mr. Wolff or pay what he demands. No wonder, therefore, that this monopolist gets the lion's, or in this case the wolf's, share of the income of many artists, and that his annual income is rated at from 80,000 to 100,000 reichsmarks.
3It would be a good thing if all the important papers of Germany would reprint Mr. Felsing's outspoken article, and thus help to break one of the most powerful and most dangerous monopolies existing in Germany to-day. It is a good sign that a paper like the "Rheinischer Kurier" has the courage and good sense to give space on its front page to a subject of such importance.
5SOMEONE in this week's "Critic," writing about the influx of Italian and Chinese labor into this country, says: "Surely there is room enough for all comers if they could only get to the places where they are needed, and not allowed to further congest the crowded cities where they land."
7The same remark applies with augmented force to the great number of musicians of all kinds and denominations who constantly, and of late more abundantly than ever, flock to this city. Hardly a day passes by that not one or more musical people from abroad, chief among them piano teachers, crowd into THE MUSICAL COURIER office and complain of a lack of employment. Some of them bring letters of recommendation from friends of this journal on the other side of the Atlantic; some show testimonials of teachers and authorities of high repute in the Old Country. But to all of them we are forced to give the same reply: "New York is overstocked with piano teachers, good, bad and indifferent, and so in fact is Boston. Do not stay here, but take Horace Greeley's advice and 'Go West!'"
9Many of the larger and smaller inland towns would certainly profit greatly by the over influx of teachers and executant musicians of all kinds into this city, and the musicians would undoubtedly do better there than to starve in New York.
11THE VIENNA INTERNATIONAL EXHIBITION.
13THE management of the proposed international musical and dramatic exhibition to be held in Vienna next year send out the following most interesting program of the affair:
15The exhibition will be held in the Rotunda and the surrounding gardens situated in the Prater, from May 7 to October 9, 1892.
17It will be divided into two sections, the first comprising a division illustrating the historical, artistic and technical development of all appliances connected with music and the drama. The second section will consist of a special trades exhibition, which will comprise all the productions of modern industry relating to the cultivation of music and the drama.
19The scope of the exhibition will further embrace the following objects:
21A—MEMORABLE BIOGRAPHICAL EVENTS.
22Relics and objects of interest connected with celebrated musicians, dramatic authors and artists (past and present) associated with the opera, drama and ballet, such as pictures (paintings, engravings, photographs, &c.), autographs and medals; also noteworthy objects formerly in the possession of musical and dramatic celebrities. Literature relating to the above matters.
24B—MUSIC.
251. Instruments—Historical development of musical instruments up to the present day:
26(a) Keyed instruments—Organs, pianos and harmoniums, including those of ancient and medieval times.
27(b) String instruments—1. Harps, zithers, guitars, mandolines, lutes, &c.
282. Violins, violas, violoncellos, double basses, &c.
29(c) Wind instruments of wood and metal.
30(d) Instruments played by striking. C and D include a special division for military instruments, such as drums, bugles, &c.
31(e) Various other instruments, viz., harmonicons, wood and reed instruments, chime clocks, orchestrions and the like.
32(f) Aids to performing music, such as tuning forks, metronomes, &c.
34II. Graphic representation of music:
35(a) Manuscript music showing the ancient style of copying the notes. Non-published works, after the invention of musical printing, and in addition suitable pictorial representations of the ancient study of music.
36(b) Ancient musical printing, with characteristic examples of every period.
37(c) Modern musical printing, from the first editions of Bach and Händel up to the present time.
39III. Musical literature and instruction:
40(a) Literature of the past and present: History of musical works and compositions; works on church music, musical dictionaries, musical newspapers and publications, musical catalogues, yearly reports of musical societies, &c., programs and notices; plans, diagrams and models of concert halls and musical institutions.
41(b) Instruction.—1. Theoretical and practical works. Methods of and adjuncts for teaching singing. Theory and practice of instrument playing. 2. Statutes of organization, statistics and annual reports of musical schools and conservatoires.
43C—THEATRE.
44Theatrical conditions of the past and present time:
451. Theatre building, plans, diagrams and models of theatres; machinery and lighting apparatus.
462. Adjuncts to theatrical representations, decorations, theatrical properties, models of stage decoration, costumes; also suitable pictorial representations of the same: marionettes, theatrical weapons, decorations, &c.
473. Pictorial representation of theatrical exhibitions, artistic decoration of theatres; paintings, sculpture, drawings and illustrations of dramatic works.
484. Dramatic works of all descriptions, including the libretti of operas and ballet subjects.
495. Scenic science, theatrical literature and critiques; all literature embracing the profession, periodicals, theatre programs, bills, notices, &c.
51D.—ALL HOME AND FOREIGN OBJECTS OF INTEREST COMING UNDER THE ABOVE HEADS.
52It is proposed to give during the exhibition musical and theatrical performances, particularly from the historical, national and ethnological points of view. The programs will be announced at a later date.
54MUSICAL CONTEMPORARIES.
56SOME time ago THE MUSICAL COURIER made the somewhat arrogant but absolutely truthful boast that it had no musical contemporaries. Since then two have appeared on the horizon, and THE MUSICAL COURIER, always interested primarily in the cause of art, extends to them a warm welcome. The one is the Boston "Musical Herald," which is now published and edited by George H. Wilson, formerly of the Boston "Traveller," who has associated with him Messrs. Elson, Krehbiel, Hale, Henderson and Cutter. It will be a monthly, and its aims are set forth in its salutatory by the editor, as follows:
58The high critical quality of the musical departments of the few newspapers in the country whose reviewers are competent is not appreciated by their readers; their daily critique is but the matter of a moment and is forgotten when the paper itself is dropped. This ought not to be, for nowhere in the world is there better criticism on music than in the daily press of the United States. It is not with the expectation of improving on what now exists, but to place the current article where it will lose its transient character, that I ask attention to the enlargement of the Boston "Musical Herald" and an outline of what it will attempt.
60The "Herald" will aim to take that position in music in this country that the "Nation" and the "Critic" hold in literature. It will be dignified and interesting, honest, authentic and tolerant. It is not beholden to anyone and it will countenance neither diatribe nor puffery. While not primarily a newspaper, the news of the world will be recorded, but there will be no room in it for the inanities of personal journalism.
62The most readable article is by W. J. Henderson—"Counterpoint with a Soul."
64The other contemporary is a monthly magazine called "Music," published in Chicago and edited by W. S. B. Mathews. Its first number contains an excellent portrait of Paderewski and nearly a hundred pages of reading matter. In its salutatory the editor is not at all polite to his contemporaries, but as it is a young undertaking he has much to learn. The general articles are by Van Cleve, Cady, Tapper, Emil Liebling (the latter always writes in an interesting manner), Elizabeth Cumings and the editor. The idea is an excellent one and worthy of success.
66PHILADELPHIA.
68THE Art Club of Philadelphia, which only recently arrived at the somewhat belated conclusion that musicians were eligible as artist members, held a meeting last Saturday to consider a proposition which, although indirectly, aimed at a retraction of this amendment. Before the vote was called Mr. Constantin Sternberg was given the floor and he made a bold, manly and clever speech defending his art and profession against such an outrage. Nearly every sentence of his address was stormily applauded, and at the end he was enthusiastically complimented by the members. The proposition, which was at first looked upon with favor by many, was then promptly voted down, and once more the cause of music triumphed under the championing of one of Philadelphia's "new comers." We predicted some time ago that the new blood infused into the veins of the somnolent Quaker City would tell! Mr. Sternberg has merited the gratitude of his co-resident brother artists.
70The National Conservatory of Music of America,
71126 and 128 EAST SEVENTEENTH STREET, NEW YORK.
72SPECIAL ANNOUNCEMENT.
73The Board of Directors invites attention to the engagement of HERR EMIL FISCHER, the distinguished basso of the Metropolitan Opera House, who will have charge of a course of studies in operatic singing that must, through the rank and experience of the instructor, appeal with exceptional eloquence to students and to professionals aiming at perfection in their art. EXAMINATION for entrance November 9, 1 to 5 P. M.
74SOLFEGGIO CLASSES for church choirs, professional singers and others.—MR. EMILE GUYON. Examination Wednesday, November 11, from 2 to 5 and 8 to 10 P. M.
75CHARLES INSLEE PARDEE, Secretary.
77THE RACONTEUR.
79"Beware of the Muscovite!"—Krehbiel.
81SO spake Henry Edward, "musical prelate of the 'Tribune,'" to that heterogeneous and ever gaping maw, the M. T. N. A., in this city at the Academy of Music in the year of grace 1885.
83[By "gaping maw" I cast no reflection, I hope, on the width, height and depth of the labial orifices of the empty N. A., but refer entirely to their enormous craving for musical pabulum.]
85***
87This fatidical warning was not a needless one, for have we not had the Calmuck within the gates of Gotham, and did not he, with his magnetic muscularity (and that historical and crumpled handkerchief in the right hand) and muscular magnetic music, conquer us all and leave New York its musical conqueror, King P. Illitsch Tschaikowsky?
89***
91I spent an evening recently with my young pianist of whom I have occasionally made mention, and as it was a musical banquet I will hasten to tell you of the curious menu and its appetizing flavor. Formerly I had a sweet tooth in musical food, and the whipped syllabubs of Mendelssohn, the lovely but rich sauces of Chopin I indulged in to the imminent peril of my soul's digestive organs, so I took warning and Bach at the same time, and feasted on heavier and more substantial viands. My soul grew stout and polyphonic, and finding even Schumann too light nourishment I betook me to Johannes Brahms, whose name is a sufficient guaranty of weight. From Brahms to Tschaikowsky and Stcherbatcheff is but a step, and my eye (the eye of a musical glutton) glowed with greed at the spread set before me by my friend, the aforesaid young pianist, on this occasion.
93***
95There were strange dishes fashioned daintily by cooks with such curious sounding names as Balakireff, Liao-dow, Stcherbatcheff, Paderewski, Glazunow, Rimski-Korsakoff, Cesar Cui, Borodin, but not Rubinstein, for Anton Rubinstein, both on account of his Semitic blood and Teutonic affiliations, is not a Russian among Russians—that is to say, he wears his blouse tucked within his trousers, a sure sign of Occidental sympathies.
97The other gentlemen of delectable nomenclature wear theirs hanging without, which is symbolical of the old Russian feeling and a hatred for the West, for its civilization and particularly its musical scale.
99"The Czar and the Chromatic Scale" is the motto of the neo Russian composer, and though he is the product of an illegitimate union of Robert Schumann with the Orient he vainly seeks to hide his paternity in overwhelming national color.
101***
103A trackless and an unexplored country this, the modern Russian school of piano composers, and one wherein the average critical traveler may not explore too rashly, for it is full of yawning harmonic precipices, melodies that are at once beautiful and hideous, like the mouth of a pretty woman who has lost a front tooth, and ideals mountainous but full of rugged surprises and dazzling vistas. My young pianist, whose touch is spiritually crisp, played for me, with an enthusiasm amounting to fanaticism, first those charming A minor variations of Paderewski, the eighth, ninth, tenth, eleventh and twelfth of which proved to me that the newcomer is a man of musical resources and knows whereof he speaks. The glissando variation rehabilitated completely my respect for that outworn and tricky device.
105***
107But Paderewski is civilized compared to that hero of the steppes, Stcherbatcheff. [I don't care to know his front name, the last is quite sufficient for my molars and the typesetter.] He is a musical Gogol, who would create another "Taras Bulba" if he dared to, but instead contents himself writing for the piano, and in the small forms at that; but who eats of his music is made mad, as are the devourers of mandrake. Bitter sweet is it, with rhythms that lull you and poison you. A valse of his that I tasted made my brain whirl. In my arms I held a bewitching creature with a false red mouth, and our dance was vertiginous. Chromatic nightmares murdered our love, and then I knew that Stcherbatcheff was to be feared.
109***
111Listen to Cesar Cui's "Dance of the Marionette." Why is it that these Northerners, enveloped in gloom, in ice and vodka, yearn ever for Spain, sunny and smiling? Or rather is it to be wondered at all? Did you not hear that curious travesty Seidl recently played, Tschaikowsky's "Capriccio Italien?" It is Russian icicles melted into fantastic shapes by Neapolitan fire and terpsichorean fury. The Russian loves to dream of the South. Heine felt it when he wrote "Ein Fichtenbaum steht einsam." Balakireff's Islamey Fantaisie Orientale, which the late Père Strelezki played, and which was played in public last spring by Arthur Friedheim, is another glimpse at tech-
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