Scan 4
Musical Courier 1891-12-02: Vol 23 Iss 615, 1891
396 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 641. See the scan on archive.org.
1THE MUSICAL COURIER.
2-A WEEKLY PAPER-
3DEVOTED TO MUSIC AND THE MUSIC TRADES.
4ESTABLISHED JANUARY, 1880.
5No. 615.
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, DECEMBER 2, 1891.
11MARC A. BLUMENBERG. OTTO FLOERSHEIM.
12BLUMENBERG & FLOERSHEIM,
13Editors and Proprietors,
14JAMES G. HUNEKER, HARRY O. BROWN, ASSOCIATE EDITORS.
15Offices: No. 25 East Fourteenth St., New York.
16WESTERN OFFICE: Chicago, John E. Hall, No. 283 State-st., Manager.
17GENERAL AGENCY FOR GERMANY:
18FRITZ SCHUBERTH, JR., Lindenstrasse, 20, Berlin.
20NOTICE.
21Electrotypes 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 electrotypes of the same, and publish the subjoined list for the purpose of facilitating a selection.
24Adelina Patti
25Ida Klein
26Semlach
27Christine Nilsson
28Scalchi
29Trebelli
30Miss Rose
31Alfred Grünfeld
32Stelka Gerster
33Nordica
34Josephine Yorke
35Emile Ambre
36Emma Thuraby
37Teresa Carreño
38Kellogg, Clara L.—
39Minnie Hauk—3
40Mates
41Albani
42Annie Louise Cary
43Emily Winant
44Lena Little
45Muri-Celli
46Andrew Carnegie
47James W. Whelan
48Eduard Strauss
49Elenor W. Everest
50Jenny Broch
51Marie Louise Dotti
52Marie Maud
53Fursch-Madi—2
54John Marquardt
55Zélie de Lussan
56Blanche Ravelle
57Antonie Nieke
58Titus d'Ernesti
59Anna Bulkeley-Hills
60Charles M. Schmitz
61Helen von Plow
62Franz Lachner
63Heinrich Marschner
64Edmund C. Stanton
65Heinrich Heinefeld
66William Courtney
67Josef Staudigl
68R. M. Bowman
69Mrs. Minnie Richards
70Florence Clinton-Sutro
71Arthur Friedheim
72Clarence Eddy
73Mr. & Mrs. C. H. Clarke
74Pamela Bloomfield
75S. R. Jacobsohn
76C. Mortimer Wiske
77Emma L. Heeckle
78Karl Grieg
79Adolf Henselt
80Eugen d'Albert
81Lilli Lehmann
82Ludwig Candidus
83Franz Kreisler
84Leandro Campanari
85Franz Rummel
86Blanche Stone Barton
87Amy Shea
88Thomas Ryan
89Achille Errani
90C. Jos. Brambach
91Henry Schradieck
92Walter Rhein
93Wilhelm Gericke
94Frank Taft
95C. M. Von Weber
96Edward Fisher
97Kate Rola
98Charles Rehm
99Harold Randolph
100Marie M. Vandeveer one of two readings
101Marie M. Van deveer one of two readings
102Adele Ander Ohe
103Karl Klindworth
104Edwin Klahre
105Mabel D. Campbell
106Alfredo Ferrari
107Wm. R. Chapman
108Otto Roth
109Anna Carpenter
110W. L. Blumenschein
111John Labatt
112Albert Venino
113Josef Rheinberger
114Hans Benda
115Helen von Doenhoff
116Adolf Jensen
117Hans Richter
118Margaret Reid
119John Ritchie
120Merrill Hopkinson, MD
121R. S. Bonelli
122Paderewski
123Stavenhagen
124Anton Poto
125Paul von Janko
126Carl Schroeder
127John Lune
128Edmund C. Stanton
129Marie Gudehus
130Charlotte Huhn
131Teresina Tua
132Louise
133Ivan R. Morawski
134Leonard Winkler
135Costanza Donita
136Carl Reinecke
137Hans Balzert
138Johann Sebastian Bach
139Peter Tschaikowsky
140Jules Perotti—2
141Adolfo Forster
142J. H. Hahn
143Thomas Martin
144Louis Gaertner
145Pietro Mascagni
146Richard Wagner
147Theodore Thomas
148Dr. Damrosch
149Campbell
150Jenny Meyer
151Constantin Sternberg
152Dengremont
153Galasso
154Hans Balatka
155Mathilde Wurm
156Liberati
157Johann Strauss
158Anton Rubinstein
159Del Puente
160Safey
161Hope Gienia
162Louis Hennberg
163Frank Van der Stucken
164Frederic Grant Gleason
165Ferdinand von Hiller
166Robert Volkmann
167Max Heinrich
168A. L. Guille
169Orville Musil
170Antonio Gardi
171Alcuin Blum
172Louise Natali
173Ethel Wakefield
174Carlo Paterlesea
175Carl Retz
176George Gemündes
177Emil Liebling
178Van Zandt
179Heinrich Heimendahl
180Mrs. Clemelli
181Albert M. Bagby
182W. H. Waugh
183Mrs. W. Waugh Lauder
184Mendesiohn
185Hans von Bilow
186Clara Schumann
187Jacqueline
188Samuel S. Sanford
189Franz Liszt
190Christine Dossett
191Dora Hennings
192A. A. Soleyer
193Reut Catenhusen
194Heinrich Hofmann
195Charles Fradel
196Emil Sauser
197Jesse Willlett Davis
198D. Burnistle-Petersen
199Willis Nowell
200Auguste Mau
201Gustav Hinrichs
202Xaver Scharwenka
203Heinrich Boetel
204W. K. Haslam
205Carl E. Martin
206Lenni Duller
207Walter J. Hall
208Conrad Anzorge
209Carl Baermann
210Emil Ritter
211Paul Kalisch
212Lou.Svecenski
213Henry Holden Huss
214Neely Stevens
215Dyke Flanigan
216A. Victor Benham
217Mr. and Mrs. Carl Hild
218Andrzejewicz one of two readings
219Andrzejewiczowitch one of two readings
220Moris Rosenthal
221Victor Herbert
222Martin Roeder
223Joaquim Raff
224Felix Mottl
225Augusta Ohrström
226Mamie Kunkel
227Dr. F. Ziegfeld
228C. F. Chickerling
229Villiers Stanford
230Louis C. Elson
231Anna Mooney-Burch
232Mr. and Mrs. Alves
233Ritter-Goetz
234Adolf Karg
235Pauline Schöeller-Haag
236Manasseh
237Laura Schirmer
238P. S. Gilmore
239Kathinka PaulsenWhite
240Rose Schottfensel one of two readings
241Rose Schottenfels one of two readings
242Mrs. Johnstone-Bishop.
243Marie Yvart
244L. G. Gottschalk
245Antoine de Kontski
246S. B. Hahn
247F. M. Bowman one of two readings
248R. M. Bowman one of two readings
249Otto Bendix
250W. H. Sherwood
251Stagno
252Victor Nessler
253Johanna Cohen
254Charles F. Tretbar
255Jennie Dickerson
256R. A. MacDowell
257Theodore Reichmann
258Max Treiman
259C. A. Cappa
260Montefilfo
261Mrs. H. Ames
262S. G. Pratt.
263Rudolph Aronson
264Hermann Winkelmann
265Ponchielli
266William W. Gilchrist
267Ferranti
268Meyerbeer
269Johannes Brahms
270Mortiz Moszkowski
271Filoteo Greco
272Wilhelm Junck
273Fannie Hirsch
274Michael Singer
275Dr. S. N. Penfield
276F. W. Riesberg
277Raul Mahrt one of two readings
278Raul Mahr one of two readings
279Otto Sacco
280Carl Faetien
281Belle Cole
282Carl Millocker
283G. W. Hunt
284Georges Bizet
285John A. Brockhoven
286Edgar H. Sherwood
287Ponchielli
288F. H. Torrington
289Carrie Hun-King
290Pauline l'Allemand
291Vera
292Hamel Monument
293Berlioz Monument
294Haydn Monument
295Johann Svendsen
296Stravinsky one of two readings
297Stravinsky Orchestra one of two readings
298Anton Dvorak
299Saint-Saëns
300Pablo de Sarasate
301Jules Jonath
302Albert R. Parsons
303Ther' e Herbert-Foerster one of two readings
304Ther'è Herbert-Foerster one of two readings
305Bertha Pierson
306Carlos Sobrino
307George M. Nowell
308William Mason
309Pascal Delpuech
310Anna Lankow
311Marie Powell one of two readings
312Max Powell one of two readings
313Max Alzner one of two readings
314Max Alten one of two readings
315Josef Hofmann
316Händel
317Carlotta P. Pinner
318Marianne Brandt
319Gustav A. Kerker
320Henry Duziens
321Emma Juch
322Fritz Grün
323Anton Seidl
324Max Leckner
325Max Spicker
326Judith Greaves
327Herman Ebeling
328Anton Bruckner
329Mary Howe
330Atavie Claire
331Mrs. Mrs. Lawton
332Fritz Kreisler
333Madge Wickham
334Richard Burmeister
335W. J. Allen
336Nils W. Gade
337Herman Levi
338Edward Chadfield
339James H. Howe
340George F. Chickerling
341Isla F. Fitch
342Helene C. Livingstone
343M. J. Niedzielski
344Franz Wilczek
345Alfred Schumann
346Juan Arias
347Carl Busch.
349A GOOD motto would be Festina Lente in playing fugues.
351SO Remenyi was not drowned after all! Well, the proverb may still hold good.
353ALL good music becomes classic in time, no matter how far removed it may be in content from our generally accepted notion of the word. Chopin and Schumann are classics just as much as Haydn and Händel.
355THE Paderewski boom is a steady crescendo. Not since the days of Rubinstein has there been so much interest manifested in piano playing.
357THROUGH the courtesy of Scribner, Welford & Co. THE MUSICAL COURIER is in receipt of Richard Wagner's interesting letters to Uhlig Fischer and Ferdinand Heine, which volume will be reviewed at leisure in the near future.
359IT is an odd coincidence that among the many musical critics of New York not a single one corrected the news received by the Associated Press from Paris that Lasalle, the "Tenor!!!" &c. Since when has this celebrated BARITONE developed into a tenor?
361MANAGERS of rival pianists, who write deprecatory criticisms of Paderewski, should remember one thing. Everybody understands their motive, and it makes no difference anyhow, for Paderewski is an assured and overwhelming success. "Town Topics," please copy.
363AN interesting innovation has been made by Colonne, the great Paris conductor, who gives on the printed programs of his popular Sunday concerts the pictures and biographies of the composers whose works are performed on the occasion. These programs sell for 10 centsime (2 cents) apiece and are a great go. Who is the first man to try the experiment in New York?
365THE following is the way in which a "Herald" music critic disposes of the Brahms "German Requiem":
367The requiem proved to be a disappointment. It is a monotonous affair, which seemed to interest neither chorus nor orchestra—a long drawn out harmonious plaint, which at a first hearing appears to lack either musical color or dramatic significance.
369The self unconsciousness of the "Herald," which has the temerity to write thus of a work which it does not know, has never studied, but which it judges from "a first hearing," will become still more amusing when it is remembered that the "German Requiem" is not only undoubtedly Johannes Brahms' best work, but, with the exception of the "St. Paul," "Elijah" and the third part (only) of Schumann's "Faust," also the greatest choral composition that has been penned since Beethoven!
371THE "Herald," November 25, contained the following gem of a criticism:
373Neither was the performance of the Schumann fantasia, with which Mr. Grünfeld achieved so much in the same place a few weeks ago, at all comparable to the latter's beautiful performance. It had nothing of the depth of feeling nor the poetry that properly belongs to it, and with which many a pianist of less reputation than Mr. Paderewski has been able to invest it.
375The noble performance of Schumann's fantasy, op. 17, by Paderewski, is referred to above, and of course there is no disputing tastes. Mr. Alfred Grünfeld is a brilliant player of the shallowest of all schools, the Viennese, and he evidenced by his playing of Schumann that the great romantic composer was a sealed book to him. But there is no disputing tastes. The fantasy, it should be remembered, is all that its title implies, and demands of a player musical imagination of the highest order. This Mr. Paderewski has, and Mr. Grünfeld has not.
377But there is no disputing tastes.
379THE great Russian composer Balakirew recently visited the village of Zela Zowa Wola, near Warsaw, the birthplace of Frederic Chopin. It was there that Chopin's father was Count Skarbek's superintendent, and in the right wing of the now entirely abandoned castle the great composer saw the light of the world on March 1, 1809. Balakirew, in conjunction with the great Polish poet Jankowski, now proposes to restore Chopin's birthplace to its original appearance and to decorate the house with a marble slab, in similar manner as was done lately with the Beethoven house, at Bonn. The Warsaw Musical Society is to give concerts, the proceeds of which are to go toward acquiring the building and maintaining in it a custodian. The plan is one highly to be commended, as the world owes the greatest of piano composers and one of the greatest of tone poets an irredeemable debt of everlasting gratitude.
381FRENCH Chauvinism does not seem to be able to confine itself to Paris. We just learn of a recent "Lohengrin" performance at Madrid, at which, during the second act, a Frenchman tried to get up an anti-Wagner demonstration. He was promptly ousted and the performance proceeded without his "assistance" and was concluded amid the greatest enthusiasm.
383THE MUSICAL COURIER has always protested against the brutal way most pianists have of ending Chopin's poetic second impromptu in F sharp. In many editions it is marked with two f's, but the whole character of the composition, with its dreamy final cadences, would indicate other treatment. Mr. Paderewski last week proved, by playing the final chord piano, that it was the only rational method, and the impromptu, as a finished picture, gains largely thereby.
385THE gratifying information reaches us that the citizens of Baltimore propose to 'erect a large music hall to cost about $150,000, and that at a public meeting held in that city on Friday night last $10,000 was at once subscribed. Baltimore is sadly in need of such a hall, and with the application of energy and a proper appeal to the people there is no doubt that the 3,000 shares at $50 a piece will soon be subscribed. Among musical people present at the meeting were Messrs. Ernst Knabe, Otto Sutro, Geo. Blummer and Ross Jungnickel, conductor of the Baltimore Philharmonic Orchestra.
387MR. STEVENSON, in the "Independent," fears the worst may come yet in piano recitals. Read his apt remarks about Paderewski:
389To Mr. Paderewski's case is also to be added a curious personality and temperament. A slender, awkward, apparently quite self unconscious young man hurries across the stage. He sits down without fuss, with hardly a useless look about him, calmly to his work. His nimbus of redish hair stands out all over his head. His small eyes, almost always downcast except for observing the conductor, seem closed. Narrowly escaping beauty, there is a quality almost androgynic in the fashion of his pale countenance. In the young man's looks as well as his manner, in this, one may trace a part of the mounting wave of interest that has piqued and fixed public curiosity about him. Personal individualism is much just now to a pianist. Mr. Paderewski is a species of Sarah Bernhardt of the piano—a strange quintessence of art for art's sake. He is sure to be heard with interest as yet another magician with the fingers, and a Slav temperament as well as a musical one; and in this age when, as has been said, metropolitan musical people are not to be astonished at what a pianist's muscles and patience will do; in this age when the pianist's message is so largely the gospel of magnificent noise in a big concert hall; in such an age one says that a player ought to feel contented if his auditor's eyes open very wide as they watch the performer perform, juggle with cannon balls or feather puffs, and trill with every finger tip at the same time. It is by no means sure that the progress of concert hall pianism may not ultimately take up the technical cultivation of the toes, and enable the supreme technicians of the next century to perform what will prove (excusing the phrase) yet more remarkable and elevated feats at the piano than those whereto it is one's present privilege to listen.
391SO English opera and opera in English does not pay in London. The "Sun" published last Sunday the following bit of news:
393The English opera house has proved a failure. Its doors will be closed after to-night, and Mr. D'Oyly Carte has a white elephant on his hands. It is a lamentable fact, but there are not enough English lovers of high-class music to support it. "Ivanhoe" no longer proves a draw, and "La Basoche" entailed a heavy loss, though it is a good piece. The artists themselves have been somewhat to blame for the catastrophe. When the present season commenced it was proposed to alternate the new opera with the performance of Sir Arthur Sullivan's "Ivanhoe," and for that purpose a different set of leading artists was engaged. When Carte decided on withdrawing "Ivanhoe," questions arose as to the termination of the contracts with the leading singers, some of the latter insisting upon standing out for their legal rights and not accepting the compromise which was offered. In these circumstances Mr. D'Oyly Carte decided to close the house and terminate the season. This means the throwing out of employment of the large army of chorus singers and other employees engaged at the theatre, and some of these have made such representations to the leading artists that the latter gave way, so that the difficulty might be surmounted; but this compromise came too late. Carte adheres to his decision. Possibly the house will be reopened again in a few weeks with "La Basoche" on a much less lavish scale, pending the production of one of the three novelties for which D'Oyly Carte has given commissions to three of the best known British composers, including the Scotchman, Mr. Hamish McCunn.
395To be made a commercial as well as an artistic success it is believed
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