Scan 6
Musical Courier 1891-12-16: Vol 23 Iss 617, 1891
374 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 703. 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. 617.
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 16, 1891.
11MARC A. BLUMENBERG. OTTO FLOERSHEIM.
12BLUMENBERG & FLOERSHEIM,
13Editors and Proprietors,
14JAMES G. HUNEKER, | ASSOCIATE EDITORS.
15HARRY O. BROWN.
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
27Saxe
28Trebelli
29Marie Roze
30Alfred Grünfeld
31Eduard Gerster
32Nordica
33Josephine Yorke
34Emilie Ambré
35Emilie de Lussy one of two readings
36Emilie Schrey one of two readings
37Presto Carreño
38Kellogg, Clara L.—2
39Minnie Hauk—2
40Materna
41Anna
42Annie Louise Cary
43Emily Winant
44Lena Little
45Kitty Celi
46Andrew Carnegie
47James T. Whelan. one of two readings
48James T. Whelan one of two readings
49Eduard Strauss
50Elenov—Everest
51Tenny Broch
52Marie Louise Dotti
53Marie Jahn
54Fursch-Madi—9
55John H. Haverford one of two readings
56John M. Sargent one of two readings
57Blanche Roosevelt
58Antonia Mielke
59Titus d'Erneste
60Arthur H. Hovey-Hills one of two readings
61Arthur H. Higgin-Hills one of two readings
62Charles M. Schmitz
63Friedrich von Fiotow
64Franz Lachner
65Heinrich Schrecher one of two readings
66Heinrich Schachner one of two readings
67S. C. Stanton
68Heinrich Grünfeld
69William Courtney
70Josef Staudigl
71A. M. Bowman
72Mrs. H. H. Richards
73Florence Clinton-Sutro
74Arthur Friedheim
75Clarence Edouard one of two readings
76Clara Schumann one of two readings
77Mr. & Mrs. C. H. Clarke
78Florence Bloomfield one of two readings
79Friedrich Bloomfield one of two readings
80S. E. Jacobsohn
81C. Mortimer Wiskie
82Emma L. Heckle
83Edward Griese
84Adolf Henselt
85Eugen d'Albert
86Lilly Lehmann
87Wilhelm Camadus
88Franz Kneisel
89Leandro Campanari
90Franz Rummel
91Blanche Stewart Barton one of two readings
92Blanche Seward Barton one of two readings
93Amy Sherwin one of two readings
94Mary Sherwin one of two readings
95Thomas Ryan
96Achille Errani one of two readings
97Achille Ernani one of two readings
98C. Jos. Brandt
99John P. Rhodes
100Wilhelm Gericke
101Frank Taft
102C. M. von Weber
103Edward Fisher
104Kate Rolla
105Charles Rehm
106Harold Rathkopf
107John A. Vanveeler one of two readings
108J. L. Vanveeler one of two readings
109Adele Aus der Ohe
110Karl Klindworth
111Edwin Klahre
112Meredith Campbell
113Alfredo Belli
114Wm. R. Chapman
115Otto Roth
116Anna Carpenter
117F. L. Blumenschein
118Leonard Labatt
119Albert Venino
120Josef Rheinberger
121Max Bendix
122Adolf Jensen
123Hans Richter
124Margaret Reid
125Emil Fischer
126Jerril H. Robinson, M.D.
127E. S. Bonelli
128Paderewski
129Stavenhagen
130Aringo Bolto
131Paul von Janko
132Carl Schroeder
133John Lund
134Edmund C. Stanton
135Heinrich Gudehus
136Charlotte Huhn
137Teresina Tua
138Lucca
139Ivan R. Morawski
140Leopold Winkler
141Costanza Donita
142Carl Reinecke
143Heinrich Vogel
144Johann Sebastian Bach
145Peter Tchaikowsky
146Jules Perotti—2
147Adolph M. Foerster
148J. H. Hahn
149Thomas Martin
150Louis Gaertner
151Pietro Mascagni
152Richard Wagner
153Theodore Thomas
154Dr. Dussek
155Campanini
156Jenny Meyer
157Constantin Sternberg
158Dengremont
159Galatas
160Hans Balatka
161Mathilde Wurm
162Libera
163Johann Strauss
164Anton Rubinstein
165Del Puente
166Josef
167Julia Rivé-King
168Hope Glenn
169Louis Blumenberg
170Frank Van der Stucken
171Frederic Grant Gleason
172Friedrich Triller
173Robert Volkmann
174Julius Rietz
175Max Heinrich
176A. L. Vaille one of two readings
177A. L. Velle one of two readings
178Oreste Muzio
179Anton Udvardi
180Alcino Blum
181Louise Natali
182Eduard Weyhfeld
183Carlyle Petersiles
184Carl Retter
185George Gemündes
186Balthasar
187Jan Zajet
188W. Edward Heimendahl
189Mrs. Clemelli
190Albert M. Bagby
191W. H. Lauder
192Mrs. W. Waugh Lauder
193Mendelssohn
194Hans von Bülow
195Clara Schumann
196Johannes Samuel one of two readings
197Joachim one of two readings
198Samuel S. Sanford
199Franz Liszt
200Christine Dossett
201Dora Menningen
202Ernst Catzenhuse
203Heinrich Hofmann
204Charles Fradel
205Emily Sande one of two readings
206Emily Sandon one of two readings
207Jesse Bartlett Davis
208Burmeister-Petersen
209Willis Nowell
210Auguste Casted
211Gustav Hirsch
212Xaver Schawrzen
213Heinrich Boetel
214W. E. Haslam
215Cecilie Minn
216Jennie Dutton
217Walter J. Hall
218Mort Rehnvald
219Victor Herbert
220Martin Roeder
221Joachim Raff
222Felix Mottl
223Hans Ohrström
224Mamie Kunkel
225Dr. F. Ziegfeld
226C. F. Chilciter
227Villiers Stanford
228Louis C. Elson
229Anna Mooney-Burch
230Mr. and Mrs. Alves
231Ritter-Goetze
232Adele Leving
233Pauline Schellner-Haag
234Marchesi
235Laura Schirmer
236P. S. Schreure
237Kathinka Paulsen White
238Rose Schottfens
239Mrs. Johnstone-Bishop
240Max Bruch
241L. G. Gottschalk
242Antonie de Kontski
243S. B. Mills
244R. M. Bowman
245Otto Bendix
246W. H. Sherwood
247Stagno
248Victor Nessler
249Joahna Cohen
250Charles J. Trebar
251Jennah Dickerson
252E. A. MacDowell
253Theodore Reichmann
254Max Treuman
255C. A. Capa
256Monteaglio
257Mrs. Helen Ames
258S. G. Pratt.
259Rubens Aronson
260Herrmann Winkelmann
261Donizetti
262Ferranti
263Johannes Brahms
264Meyerbeer
265Moritz Moszkowski
266Anna Louise Tanner
267Filoteo Greco
268Friedrich Rück
269Fannie Hirsch
270Michael Banner
271Dr. J. Penfield
272F. W. Riesberg
273Emil Mahr
274Otto Sutro
275Carl Faelsen
276Belle Cole
277Carl Mockecker
278G. W. Hunt
279Georges Bizet
280John A. Brockhoven
281Edgar J. Sherwood
282Ponchicelli one of two readings
283Ponchielli one of two readings
284F. H. Torrington
285Carrie Hun-King
286Pauline l'Allemand
287Verdi
288Hummel Monument
289Berlioz Monument
290Haydn Monument
291Hans Svedsen
292Strauss Orchestra
293Anton Dvorak
294Saint-Saëns
295Pablo de Sarasate
296Jules Jonnian
297Albert R. Parsons
298Therèse Herbert-Foerster
299Bertha Pierson
300Carlo R. Mino
301George M. Nowell
302Pascalou
303Anna Lankow
304Maud Powell
305Max Alvey
306Josef Hofmann
307Händel
308Carlotha F. Pinner
309Marieke Brandt
310Gustav A. Kerker one of two readings
311Gustav A. Kerkez one of two readings
312Henry Duzenyi
313Emma Luch
314Fried Giesler
315Anton Seidl one of two readings
316Anton Seid one of two readings
317Max Leckner
318Max Spucker
319Judith Graebe one of two readings
320Judith Graze one of two readings
321Hermann Ebeling
322Anton Bruckner
323Mary Howe
324Atalie Claire
325Mr. and Mrs. Lawton
326Fred Krueger
327Richard Burmeister
328W. J. Lavin
329Nick W. Gade
330Hermann Levi
331Edward Chadfield
332James H. Howe
333George H. Chickerling
334John H. Tillower
335Helene C. Livingstone
336M. J. Niedzielski
337Franz Wizelcik one of two readings
338Franz Wielczek one of two readings
339Alfred Sormann
340Juan Lura
341Carl Busch.
343PADEREWSKI.
344The next Paderewski Recital will take place on
345Thursday Afternoon, December 17, at 2:30,
346AT MADISON SQUARE GARDEN CONCERT HALL.
347SPECIAL NOTICE.
348OWING TO THE UNPRECEDENTED SUCCESS OF THE PADEREWSKI CAPITALS, THE MANAGEMENT BEGS TO ANNOUNCE THAT THE MATINEE ON SATURDAY AFTERNOON, DECEMBER 19, AT 2:30, WILL TAKE PLACE AT MUSIC HALL, 57th St., cor. 7th Ave.
349TICKETS PURCHASED FOR THAT DATE CAN BE EXCHANGED AT ED. SCHUBERTH & CO.'S, 23 UNION SQUARE, ON AND AFTER SATURDAY, DECEMBER 5.
351LITTLE need to call the reader's attention to this superb issue of THE MUSICAL COURIER. It speaks for itself. The portraits of Paderewski, Anna Burch, Clara Poole, W. H. Rieger, W. R. Chapman, Henry E. Abbey, Maurice Grau and the complete Italian and French Opera Company at present singing at the Metropolitan Opera House are most artistically done and form a valuable supplement that will be worth preserving. The reading matter is also abreast of the usual high standard of THE MUSICAL COURIER.
353THE London "Musical Times" has the following in its last issue:
354"Abominable rot" is the term used by THE MUSICAL COURIER, of New York, to describe the "interpolated" music in "La Cigale;" while of two performers it is said that "they neither talk nor sing, for one's voice is much impaired and the other never could sing." It is a good thing for THE MUSICAL COURIER that the English law of libel has no power in the Empire City. With what a sense of freedom musical critics can write over there!
356In the name of all that is just what, then, is the use of musical criticism if we can't call a spade a spade? Mr. Streitmann can't sing; where is the libel? Mr. Tagliapietra's voice is impaired; where is the libel? English libel laws must be something remarkable if they do so choke the utterance of the British music critic. No wonder, then, Mr. Joseph Bennett, the chief apostle of philistinism in London, made his meek boast that in twenty-five years he had not written anything to offend an artist, and his young man was responsible for the Ciampi libel suit. "C'est magnifique, mais ce n'est pas la guerre," and while it is very amiable it is not very convincing. Modern musical criticism, while it is sympathetic and curious in its spirit, illy brooks the "buts" and "ands" of the critic who would give a dollar if he could only tell what he really thought.
358THE London "Musical News" publishes the following interesting information about Mr. Friedrich Niecks, who might be justly termed a sort of a posthumous Boswell, inasmuch as he has in Chopin's case given us an ideal biography, and proposes to do the same with Robert Schumann as the central figure:
359It is notified that Mr. Friedrich Niecks has been nominated to the chair of music by the authorities of the Edinburgh University. Not very much interest is taken in this matter in England, for it was felt that the appointment concerned Scotland alone, and the position of any Englishman in this situation would have been intolerable. We shall watch with interest what the Scotch musicians have to say to the fact that a German has been preferred to one of themselves. And yet Mr. Niecks, though he was born at Dusseldorf in 1845, has lived in Scotland for many years. He played the violin for some time in the orchestra at Cologne, but early withdrew, and devoted himself to teaching and literature. His life of Chopin is one of the most perfect musical biographies we possess. In conjunction with Clara Schumann he is now engaged on a life of that master. Perhaps, if Mr. Niecks puts "Mac" before his name, exhibits an affection for the bagpipes, and—well, conforms to the customs of the people he lives among, he will be both accepted and respected. His musical qualifications undoubtedly command respect. He is a critical writer of great ability, his knowledge of the history and development of music is probably unsurpassed; there is no branch of art he has not written on and written well. Edinburgh could not have a more industrious and zealous professor. Mr. Niecks will certainly do his duty.
361The type of artist biographers to which Mr. Niecks belongs is unhappily becoming rarer, and his nomination to a responsible and dignified position is perfectly justifiable and fitting.
363BRAINARD'S "Musical Monthly" recently contained the following timely article on "The Art of Listening:"
364The number of good pianists has considerable increased during the past twenty-five years, and with it the demands upon pianists themselves. To be called a great pianist to-day means more than it did a quarter of a century ago. There are many players now in this country who, at that time, would have attracted no little attention, but they now fail to do so. The concert programs of that period were meagre when compared with those of to-day, and no concert player would dare to come before New York, Boston and Chicago audiences now with programs such as Gottschalk, Thalberg, Jaell, Mayer and others have performed.
365In view of this fact it is proper to ask the question, "Have we as hearers improved in a corresponding manner and to the same degree?" If it is an art to play well, it is in a certain sense an art to hear well. If it requires greater art skill to play the programs to-day, it certainly requires a better taste and finer hearing to appreciate and enjoy them.
366There is no doubt but that hearing has improved with good playing, though perhaps it has not at present reached the same advanced place. The style of music performed, as well as the superior manner of rendering it, has brought about this pleasant result. The musical press has also aided in accomplishing it. Even if people fail to fully understand what is being offered them the consciousness of the fact that good music, rendered in an artistic style, is given, causes them to bestow a respectful hearing. Every intelligent person desires to derive some pleasure and benefit from pure art works, and to this extent no doubt the hearing has improved with the performance. The attention bestowed upon music when performed before promiscuous assemblies gathered in private houses has improved. Men and women scarcely talk as loud and as freely as they did years ago, when musicians performed their polkas and valses di bravura. And all this is true in spite of the fact that the programs one hears nowadays at private musicals, and that even in country places, are far superior to those of years ago. People have learned to regard both art and artists better. The raising of the standard among artists and teachers cannot fail to affect the masses, and though the process of educating them may be slow, yet the progress in that direction is apparent. That we are improving as listeners cannot be denied, though as yet we are a long distance from that happy period when all shall enjoy art as it should be enjoyed.
367In an age when everyone plays or sings or thinks he does it would be a welcome surprise to meet a man or woman who could honestly say, "I do not play or sing, but my virtuosity as a listener is great."
369IN the "Review of Reviews" some months past there was the account of an experiment made by the editor of the "Gazette des Beaux Art" in sending Edmund Rod, a literary man, to the Salon to criticise the paintings and to give his impressions free from technical terms. How the experiment succeeded is not known, but certain it is it would be a failure if the literary man pure and simple were sent to a concert to criticise without any knowledge of music.
370A man of ordinary intelligence can at least say whether a cat is a cat or a cow a cow in a picture and yet know nothing of color, "values" or technical excellences; but a man unskilled in the technic of the art of music, be his ear ever so good, will nevertheless make blunders in judgment that will cause the feathered celestial tribe to weep tears of woe. What mistakes may occur may be seen by the following criticism. A sparring match and a concert took place on the same evening, and by a mischance the tickets reached the wrong art critics of the newspaper. The music critic, thinking that it was merely a broadening out of his field of labor, boldly went at his task, and handed in the following review:
371Soirée Pugilistique.—Thumper's Hall was well filled with an aristocratic audience last night, who had the pleasure of being present at a delightful program, which was charmingly carried out. At 8 o'clock the conductor called time, but forgot to specify what tempo was desired. Signor J. L. Sullivani and Mr. Driscoll appeared in a duet which seemed to be in the character of a knockturn. Signor Sullivani's touch was a trifle heavy, and he seemed much addicted to forearm action. His performance was, nevertheless, a striking one and had much power. A great many "rounds" were upon the program, and we are glad to see this old English style of composition coming into favor again.
372The art critic of sparring was at first a trifle uneasy, when he saw that he had strayed into a musical soirée, but he soon found that his knowledge came readily into play, and gave the paper the following account:
373Piano Slugging Extraordinary.—Apollo – Orpheus Hall was crowded with a lively audience last night to see Rafe Josephe knock out a piano in four rounds. Betting on the event was not very lively, and an offer of two to one on the piano found no takers. Precisely at 8 o'clock the master of ceremonies started the proceedings with an orchestral prelude, but this only added to the interest attaching to the main event. Rafe came to the front smiling. He had evidently been sponged off just before the combat and looked in excellent condition. He at once struck out with his right and followed it with a terrific left hander, and managed to get away without a return. He now got in some light work with both hands and for a short time seemed sparring for wind. A short rally followed, but just as the faint hearted were beginning to back the piano to the tune of three to one, he caught it a heavy blow on the left side and in an instant had it in chancery and was punishing it severely. Such heavy pounding has rarely been seen in any exhibition. The combat was so evidently in Rafe's favor that we did not stay to see the close. The police arrangements were perfect, no disturbance of any kind taking place among the audience.
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