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Musical Courier 1892-01-27: Vol 24 Iss 623, 1892
91 lines. Read by computer on 19 September 2026. Printed page 13. See the scan on archive.org.
1but native talent to depend on. I like that. I like to go alone and find local musicians and then mold them to my wishes.
3"I consider that if I was able to do that in Russia I would much more easily be able to obtain an orchestra in the United States. Americans are a musical people, and are doing more than any other country toward stimulating the production of the best class of music. The United States is making great strides in music. They have composers and singers of great talent. I believe that Americans are especially fond of serious music. America is a country where we ought and will hear the music of every country. She is neutral, at peace with all other nations. But it seems to me that she has had enough German and Italian music. To complete her experience she needs French music, and that music should be given there by a Frenchman. There is in French music a lightness and grace which demand special powers of interpretation, which neither the Germans nor Italians could give so well.
5"My views about opera are eclectic in the broadest sense. That is the road I shall pursue at the Opera. For the last ten years I have been giving concerts, and all the remarkable productions of the musical world, no matter of what country, have found a place in my programs. My general plan is first of all to renew the repertory of the Opera. I shall strive to broaden the platform I have already worked up. My motto will be 'Forward!'"
7"But I do not propose to neglect the classic masters who have been unjustly proscribed. Among others I intend to produce the works of Gluck—his 'Alceste,' 'Orpheus,' 'Iphigénie,' &c.
9"Now, permit me once more to send this message to Americans: 'That I love their country most ardently, that my recollections of it are still vivid and that they are now pleasantly before me.'"—Herald."
11Kansas Music.
13Kansas City, Mo., January 23, 1892.
15THE musical happenings in this not in it convention burg have not proven of a vast amount of importance of late, but there has been organized some amateur affairs that are entitled to some mention, and the writer takes great pleasure in giving them some mention which is not to be had from these parts for some time.
17The Philharmonic Orchestra is among the first in these organizations which have conclusively shown our city what can be accomplished in work of this kind, and Mr. John Behr is certainly deserving of much credit in placing the orchestra that he has before our public.
19Behr is not only a good musician, but in this line, with his past experience in Boston and New York, has certainly displayed his capabilities as a conductor.
21I have before me several programs of concerts that have been rendered by the orchestra, and I note with pleasure the serious nature, from a musical standpoint, of the last concert given on the 11th inst. in connection with Ovid Musin, the renowned violinist. Such numbers as the sweet No. 4 of Massenet, the overture to "Midsummer Night's Dream," of Mendelssohn, and other numbers of equal serious nature bespeak well for the class and kind of programs that have been rendered by the orchestra, which numbers some forty of our best professional musicians in the city.
23In connection with this, Carl Busch is now conducting an amateur orchestra which, while not so pretentious as the Philharmonics, is deserving of success, and from the program as rendered at their last concert, also the second to be held some time next month, there is little doubt that the musical public has a treat in store which will be greatly enjoyed, as everyone knows that if music can be had from an amateur crowd Busch will certainly find it. Miss Neally Stevens, the charming pianist, and Mr. S. Kronberg, will be the soloists, and I sincerely hope they will meet with the success anticipated.
25Last Tuesday evening, the 19th inst., I listened to the anniversary concert of the Apollo Club, which proved quite a matter of importance to the public here and was certainly very enjoyable. The club was assisted by Mr. Chas. A. Knorr, of Chicago; Miss Mable Haas and Miss Van Stevenson, of this city. The large auditorium was quite full, which be spoke well for the musical anticipation of the public at large. Mr. Merril hew, the conductor, had his men well in hand, and while the program, as appended, evinced the class of work undertaken by the club, their efforts were not wanting. The number demanding most attention was Buck's chorus of "Spirits and Hours," and the phrasing was intelligent, quality of tone good, and with the clean cut work of Mr. Knorr as soloist certainly deserved the approbation and enthusiastic reception as evinced by the audience. Personally I enjoyed the part song work of the club more than the serious numbers, as there was a volume of tone absent required in the numbers indicated which they should have. However, as suggested last year in a letter on this point, I am especially glad to note the continuance of this organization, and I trust Merrilhew will not permit the interest to lag, and continue in his good work, as a good male chorus, such as indicated in the work of the Apollo Club, is not found every day.
27N. Dushane Cloward is to be tendered a benefit by a performance of "Chimes of Normandy" by the combined choruses of the "Gray Nun" and "Chimes of Normandy" chorus, which have been under his direction for some time. I trust that they will prove not only an artistic success, but financial as well, as Cloward has not only accomplished a great deal in giving good music to the city, but I understand he has had somewhat of a rough time of it lately, especially with Sir Edwin Arnold, who appeared here under his direction and did not prove a howling success, as anticipated.
29By the way, I listened to some portions of the new opera, the "Gray Nun," composed by Carl Busch, with N. D. Cloward librettist, and must confess to being immensely pleased with the musical numbers of the opera, and while it is hard to say as to the probable outcome of the opera being placed before the public, yet I am informed that they hope to get the matter in hand within the next month or so.
31Carl Busch has lately composed another suite for oboe, flute and string orchestra, which I think will prove very attractive. I have listened to some of the movements, and while it is useless and unnecessary to enter into a description, yet Busch hopes to have it interpreted by some of the large orchestras of New York, and while I am no criterion yet I think the suite will be enjoyed not only by musicians, but by the musical public at large.
33Yours, as usual, B. Sharp.
35The Modern Orchestra.—In the issue of "Harper's Weekly" for January 23 there appears an exhaustive paper on "The Modern Orchestra," by Henry E. Krehbiel, accompanied by explanatory diagrams and sixteen photographs by representative instrumentalists. It is an able and clearly treated monograph on orchestration as practiced by living masters. After a comprehensive introduction on the development and compass of the modern orchestra, Mr. Krehbiel divides his paper into: 1. The String Quartet; 2. The Woodwinds; 3. The Brass; 4. The Drum. The exposition of these branches is presented by a critic in thorough sympathy with his subject, and it is heartily commended to all lovers of music, both amateur and professional.
37Paris Matters.
39STREAMSHIP CITY OF BERLIN, January 11, 1892.
40PREMIÈRE OF "THAMARA."
42THE last week of the old year, and as well the last of the direction of Messrs. Ritt and Gailhard, brought forward "Thamara," by Mr. Bourgault-Ducoudray, at the Paris Opéra.
44Mr. Bourgault-Ducoudray gained some years since the Prix de Rome, which gives the directors the right of producing each two years an original work at the Opéra, but the author of "Thamara," although now over fifty years of age, has been held back through neglect, this being his first work for the lyric stage.
46"Thamara" is written in two acts and four tableaux, with the poem by Mr. Louis Gallet, and gained a considerable amount of applause and favor by the most brilliant audience I have seen at a première at this house.
48The first act or prologue is mediocre, while the second tableau is the gem of the partition and includes the ballet, a duo for soprano and tenor, a chorus for women voices and a symphony which precedes the scene. In all these numbers the composer shows much originality and tact in writing for the stage, and had he been given an opportunity some years ago would have undoubtedly have been accorded a place alongside some of the best known in France. As it now is the work takes the character of a cantata rather than of a grand opera, and, excepting the second tableau just mentioned, is not interesting and becomes a monotone from the continual dialogue, together with a subject which is triste. The cast included Miss Domenech and Mr. Engel, who assumed the rôle of "Nour-Eddin" in five days of preparation on account of the indisposition of Mr. Vergnet, scoring a decided success.
50Mr. Guilmant returned to Paris before the holidays from his English tour, embracing London, Sheffield, Newcastle, Glasgow, Manchester, &c., playing in three weeks a répertoire of fifty compositions and with remarkable success. This artist is almost as well known in England as in France at the present time, and returns to play his symphony for orchestra and organ at the Crystal Palace Good Friday, playing the same composition at the Paris Conservatoire the present month. The English programs were exceedingly interesting, containing not a few novelties.
52The conservatoire was visited by your correspondent before leaving Paris, and the workings of this world renowned school of music explained and most courteously shown, assisting in several classes, visiting the Musée and at the final concert of the old year.
54Mr. Isidor Philipp appeared at the second concert of the new year at the Chatelat, playing a concerto in C minor of Rimsky-Korsakoff, with the Colonne Orchestra, and will play twice during the month at the Paris Conservatoire a fantaisie for piano and orchestra by Widor.
56January I found your correspondent en route for Antwerp, where I had the pleasure of meeting Mr. Joseph Callaerts, organist of the cathedral, and heard him play a requiem on the reed organ recently placed there by a Belgium firm, and of large proportions, consisting of four claviers and ninety speaking stops, the effect of the full organ being almost stupendous in this old cathedral.
58After having boarded the Noordland for New York, in but six hours' time we had a collision, damaging the vessel to such an extent as to return and be transferred to Liverpool, and my evening in that city was made pleasant by assisting at a representation of Gounod's "Romeo and Juliette," by the Carl Rosa Opera Company, with Miss Zelie de Lussan in the rôle of "Juliette." Miss de Lussan, who is having large success in England, where she has been constantly singing for the last three years, sang her part with a voice of unusual richness, her middle register being extraordinary in its quality and evenness, having developed much since her last appearances in New York. The balcony scene was given with a delicacy and finesse which was a pleasure to hear. I found her to be in excellent health and enthusiastic in her work, having enlarged her répertoire to twelve operas since leaving America.
60After a visit to St. George's Hall, I made my adieus to foreign shores, and hope to reach New York in a few days.
62WILLIAM C. CARL.
64Paderewski Recitals.—Paderewski will play to-morrow evening at the Recital Hall of the Madison Square Garden; at the same place Friday afternoon at 2:30, and Saturday afternoon at the new Music Hall at 2:30.
66Mrs. Beach's Mass.—The Händel and Haydn Society, of Boston, will give the greater part of the evening at their next concert—which is appointed for the first Sunday in February—to Mrs. H. H. A. Beach's mass, for which great preparations have been making. The work itself has been very favorably received by the critics who have read the piano condensation, and the musical public as well, as they will embrace gladly this opportunity to hear it given according to its author's plans, with a great chorus, a full orchestra and a fine solo quartet. Beethoven's Choral Fantasie, which is but rarely heard, will also be sung, Mrs. Beach taking the piano part.
68Music Items.
70Buffalo.—Organist Gilbert, of St. Paul's, reappeared unexpectedly at rehearsal last week and has been reinstated. He will officiate as usual this morning. It is stated that the debts which he left behind him in his flight have been paid by friends, of whom he has many in this city.—Buffalo Exchange.
72Wm. Carl Was Popular in Paris.—William Carl vient de quitter Paris pour retourner à New York, où il a été rappelé comme professeur d'orgue au Park Conservatoire.
74M. W. Carl est un brillant organiste, il a travaillé avec nos maîtres Guilmant et Salomé et remporte d'eux des œuvres nouvelles qui lui ont été dédiées. Ce jeune artiste s'était fait beaucoup d'amis dans le monde musicale parisien où il laisse le meilleur souvenir.—"Le Monde Musical," Paris.
76Henri Falcke.—Mr. Henri Falcke, the eminent piano virtuoso, who recently appeared with success in Leipsic, is on his way to fill an engagement with the Harmonie, in Dresden, playing Saint-Saëns' G minor concerto and solo numbers. In Paris he has just appeared with the 'Société Nationale de Musique,' playing pieces by Alb. Magnard, and his own menuet, which is a charming bit of writing, with his customary success.
78Troubles of the Juch Company.—San Antonio, Tex., Jan. 20, 1892.—The manager of the Emma Juch Opera Company has filed a chattel mortgage on the costumes and other effects of that organization to secure advances made by Henry Greenwall, of New Orleans, to the amount of $5,200.
80A Great Master's Acquaintance with Instruments.—Scarcely an instrument in the orchestra escaped Mozart's attention. A born violinist, he wrote concerti for violin and orchestra which, though without the emotional element of Beethoven and Spohr, are greatly prized. To the tenor violin, which had been deemed worthy only of filling up tutti passages, he gave a voice and place of its own in the orchestra. The clarinet was raised to great importance by him, and forthwith took place as a favorite solo instrument. In nearly all his scores it received especial attention; while the fresh, beautiful and exceedingly masterful work, the quintet in A major for clarinet and strings, and the fine clarinet concerto, which he composed for Stadler, have imparted to the instrument an all age reputation which can never be impaired. Then his sparkling genius spent itself in writing for that fine reed instrument, the bassoon, the splendid properties of which he deemed more suitable than even the clarinet for his "Requiem." For the oboe Mozart did much, according it a prominence which it had never reached with any previous composer. His op. 108 has a rare oboe part, and in the mass No. 12 is some fine if difficult music for it.—"Blackwood's Magazine."
82FOR SALE—Artist will sell one of his fine Cremona violins at a reasonable price. Address Soloist, care MUSICAL COURIER.
84FOR SALE—Two violoncellos, one by Gagliano, and the other of French make. Also a viola by Grancino, and a violin. These instruments are in very good condition. Apply Hotel San Remo, Suite 42, Central Park West.
86THE FAMOUS New York Conservatory of Music, ESTABLISHED 1863—CHARTERED 1865. Removed from Fourteenth Street to the Large and Elegant Building, 112 EAST EIGHTEENTH STREET, Between Fourth Avenue and Irving Place. THE EMERSON PIANO IS USED. (Incorporated May 1, 1891.)
88NEW YORK VOCAL INSTITUTE. FRANK HERBERT TUBBS, Musical Director. 97 Fifth Avenue, New York City. COMPLETE EDUCATION IN VOCAL MUSIC. Singers naturally prefer study where Voice Culture and Singing receive chief attention. All the teachers use the same method. Homes selected for pupils. Circulars sent on request. NEW YORK VOCAL INSTITUTE, 97 Fifth Avenue.
90NEW YORK COLLEGE OF MUSIC. ALEXANDER LAMBERT, DIRECTOR. Mme. FURSCH-MADI, Principal of Vocal Department. ALL BRANCHES OF MUSIC TAUGHT Faculty comprises the most eminent instructors. NOTICE.—The New York College of Music HAS REMOVED to its new and handsome building 128 and 130 EAST 58th STREET.
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