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Musical Courier 1892-01-27: Vol 24 Iss 623, 1892
85 lines. Read by computer on 19 September 2026. Printed page 5. See the scan on archive.org.
1The Musical Courier.
2PUBLISHED EVERY WEDNESDAY
3—BY THE—
4MUSICAL COURIER COMPANY,
5(INCORPORATED)
625 East 14th St., New York.
7ESTABLISHED JANUARY, 1880.
8No. 623.
10EDITORS:
11MARC A. BLUMENBERG. OTTO FLOERSHEIM.
12JAMES G. HUNEKER. HARRY O. BROWN.
14BUSINESS DEPARTMENT:
15SPENCER T. DRIGGS. R. S. MAXWELL. A. T. KING.
17WESTERN OFFICE: Chicago, John E. Hall, No. 233 Sta'e St., Manager.
18BERLIN, GERMANY: PHILIPP ROTH, 66 Potsdamer Str.
19LEIPZIG, GERMANY: FRITZ SCHUBERT, JR., Lindenstr., 30.
20LONDON AND PARIS: BRENTANO'S.
22Subscription (including postage) invariably in advance.
23Yearly, $4.00; Foreign, $5.00; Single Copies, Ten Cents.
25RATES FOR ADVERTISING.
26PER INCH.
27Three Months………….$20.00 Nine Months………….$60.00
28Six Months……………..40.00 Twelve Months…………80.00
29Advertisements for the current week must be handed in by 5 P. M. on Monday.
30All remittances for subscriptions or advertising must be made by check, draft, or money orders, payable to the MUSICAL COURIER COMPANY.
32American News Company, New York, General Distributing Agents.
34NEW YORK, WEDNESDAY, JANUARY 27, 1892.
36HERE is the latest about Rubinstein's projected visit to this country from last Sunday's cable to the "Herald:"
38All rumors to the contrary, Anton Rubinstein has neither refused nor accepted the offer made to him by Manager Abbey to play in America next year. The letter, which has been courteously shown me, states that Rubinstein will give his final answer by July 1. Meanwhile a heavy sum has been deposited in a Berlin bank pending the answer of the famous pianist. If he accepts Abbey's offer he will appear in New York November next, the terms being those already announced—$25,000 for fifty concerts. Rubinstein, who has left Dresden, will arrive in Berlin on February 8, and will play at a charity concert there on February 5. Every seat for this concert has already been sold.
40One thing practically settled is that the pianist will not return to live in Russia, this step having been finally determined upon owing largely to domestic troubles. The persistent persecution of the Jews in Russia has also, it is said, considerably helped him to come to this decision, even in his sixty-third year.
42RICHARD WAGNER is making rapid strides outside of Germany. "Lohengrin" was so pronounced a success at Paris that Bertrand, the new director of the Grand Opera, has concluded to go to Vienna in February on the occasion of the first production there of Massenet's "Werther," and to engage Van Dyck for a future French production of "Die Meistersinger" at the Paris Grand Opera.
44From Milan the news is received that "Tannhäuser" met with tremendous success at the Scala recently, when Scheidemantel, of Dresden, was the "Wolfram;" while in Turin "Die Walküre," which had not been heard there since the days of Angelo Neumann's traveling Wagner theatre, is being given there in Italian with pronounced success.
46HEINRICH DORN, formerly conductor of the Berlin Royal Opera House, died at the German capital a fortnight ago in the seventy-ninth year of his age. He was an inveterate worker, and after he abdicated his post as conductor he took up the pen to write about his art. But for the last three or four months he was laid up with sickness and old age. He was born at Koenigsberg in 1804, and studied music under Berger, Zelter and Bernhard Klein. Afterward he conducted the theatre orchestras at Koenigsberg, Leipzig, Hamburg, Riga and Cologne, and in 1849 as successor to Nicolai, together with Taubert, was engaged as court conductor of the Berlin Opera House, which important position he held until 1869, when he was pensioned. Wagner found in Dorn, whom he had met in Riga, an early friend and advocate; but later on Wagner's artistic aims and achievements grew past Dorn's musical comprehensions and he fought him in many severe polemic writings. As a composer Dorn has left a number of operas, one of which, "Die Niebelungen," was produced, not without success, at the Berlin Opera House in 1854, but which has since disappeared. His Lieder, however, are much better, and some of them, which are quite charming, will hold their places in modern concert programs. Heinrich Dorn was distinguished by a rich musical nature and great learning; but, after all, his was more of a critical than of a productive nature. He was honesty and straightforwardness personified, and these qualities shone in all his writings. Peace be to his ashes!
48Why doesn't the "Courier" give names? It makes much more interesting reading. New York is full of piano players who think they can give points to Paderewski on Beethoven and Bach playing; and there is no need of withholding their name—it is legion.
50THE Cincinnati "Courier" prints an old joke about Wagner, the quality of which, like all good old jokes, improves with years. Here it is, with some new instrumentation, but the theme the same theme as of yore:
52Since the advent of Mr. Nikisch in our concert rooms the objection to Mr. Thomas as an orchestral conductor on the grounds that he invariably uses the score—or, at least, has it before him—of the work the band is playing has frequently been urged. It was thought by a few persons, masquerading in the guise of music critics, that after his long career before the conductor's desk Mr. Thomas was unable to direct a symphony or a suite or an overture successfully without the notes—that is, from memory. The cry at one time became so loud that the great conductor felt that it was necessary to stop it, and he did most effectually by playing several concerts without a note in sight. The objection was of the silliest kind, and, on a par with that of certain London critics against Wagner. In this case, however, the conditions were reversed. Wagner, they insisted, was a miserable failure as a conductor, because he depended upon his memory rather than upon the score in his interpretations. It was the easiest thing imaginable to find fault with the master's readings. The tempi and phrasing were oftentimes incorrect, and frequent lapses of memory were noticeable. The critics implored him to use his notes. He did, and after a superb performance of Beethoven's "Pastoral" symphony these wise men crowded around Wagner and congratulated, thanked and complimented him most effusively. The composer listened, intensely amused, and after their enthusiasm had spent itself he invited them to examine the score which was still upon the desk. They accepted, and to their great chagrin and mortification beheld—not the score of the symphony, but that of Rossini's "Barber of Seville."
54FROM one of the columns (not musical) of the "Times" the following was clipped:
56There is one class of people to whom a rainy day is a blessing. They are the professional music teachers of the city who have studios where they give instruction. Such of these as are well known and popular have a clientele that fills every hour of the day. On a stormy day the chances are that not one in four of the pupils will show up for their lessons, this being especially true in the case of young ladies and girls. The result is that the teacher has practically a day of leisure.
58But he loses all that he would have earned had the day been fine? Not at all. Every lesson is charged for just the same as if it was given, and it is right that it should be so, or there would be no protection for the teacher. He gives a certain hour of a certain day to each pupil and he is ready to perform the part of the contract which he undertakes. If the pupil is not present, through sickness, indisposition or a desire to make a call, attend a matinée, or do some shopping, he must charge for the time just the same, for having held it in reserve for a special purpose it cannot be profitably used by him otherwise.
60So whenever torrents of rain are pouring down from a leaden sky, the professional music teachers of the city will, as a rule, be found in their studios enjoying that leisure which is so delightful when combined with the knowledge that the income is not cut off by its indulgence.
62And why shouldn't they enjoy that leisure? The life of the music teacher is a hard, unthankful one at its best, and if pupils were allowed to say when they would take their lessons the income of a teacher would be seriously impaired by the end of the season. That very restrictive clause, which should be in every contract bill of a professional teacher, is the only guard he or she has against the caprices of a pupil or the vagaries of the great American weather prophet, Farmer Dunn. Another point every self respecting teacher should insist upon is that a bill presented should be honored when the quarter is half concluded. This is only an act of justice.
64LAST Sunday's "Times" contained its usual quota of musical good things. Read this about the company now performing at the Metropolitan Opera House:
66There's nothing like having an Italian opera company truly Italian while you are about it. Mrs. Patti is not a member of Messrs. Abbey, Schoeffel & Grau's congregation of talent, but she is the most famous living representative of the Italian art of song. Her name is Adele Maria Juan Patti. She's a Spaniard, born in Madrid in 1843. Mrs. Albani is a French Canadian. She was born in 1850, and her name was originally Marie Louise Cecilia Emma Lajeunesse. Lillie Lehmann is a German. She has not any other names except Kalisch, and that is an acquired one. She was born in 1848 at Würzburg. Her successful début in England in 1880 was as "Violetta" in "La Traviata."
68Emma Eames is an American. She is too young to have her age told. Scalchi was born at Turin in 1850. No one knows how old Miss Bauer meister is, but she was singing in opera when Tietjens was in her glory in 1861. The Ravogli sisters are Italians.
70Jean de Reszké was born in Warsaw, Poland, January 14, 1852. He was originally a baritone and was successful as "Don Giovanni," "De Nevers" and "Valentine." He became a tenor in 1879, his first tenor rôle being "Robert." His brother, Edouard de Reszké, was born at Warsaw, December 23, 1855. Jean Lassalle was born in 1850, and he is genuine French. Of these three men the smallest is Jean de Reszké, who stands 6 feet 1 inch in his tights.
72Auguste Charles Léonard François Vianesi, conductor, was born in Leghorn, November 2, 1857, but became a naturalized Frenchman in 1885. Of the three managers Messrs. Abbey and Schoeffel are Americans and Mr. Grau is a Frenchman. Mr. Abbey began life as a cornet player, which accounts for the skill with which he fills the trumpet of fame. Their work is at present divided as follows: Mr. Abbey is personally superintending the tour of Sarah Bernhardt, Mr. Schoeffel that of Patti, and Mr. Grau that of the opera company. Mr. Schoeffel is having the happiest time.
74OPERATIC RUMORS.
76IT has been a week of rumors at the Metropolitan Opera House. Rows, numerous and varied as to quality and quantity, have undoubtedly been going on, and wherever there is a row there is a leakage of the occurrences somewhere, hence the rumors above alluded to. The New York "Herald," which may justly be dubbed the official organ of the present management of the Metropolitan Opera House, and which has distinguished itself this season by an assorted series of attacks on anything Teutonic, actually had to contradict a rumor last week that the De Reszkés were about to sail for Europe in consequence of a row with Mr. Grau, Dame Rumor again asserting that the row was a pecuniary one. However, as the De Reszkés, Mr. Grau and the "Herald" all denied it, of course it was not so, despite the fact that a well-known stockholder is credited with having given the rumor birth. Another, and a much more startling rumor, was to the effect that a large majority of the stockholders of the Metropolitan Opera House, dissatisfied with the manner in which things are being conducted, are considering the offer of an outside syndicate of wealthy gentlemen who propose to put German opera on the boards of the house next season in first rate style. It will have to be in the best style, for the opera loving public are disgusted, not only with the present season of opera, but also with the last season of German opera, which, with the exception of Anton Seidl and his orchestra, really deserved some of the hard things said about it. This same public will no more endure ducal imitations of Meyerbeer than it will Bellini or Donizetti. It wants a good ensemble, which comprehends of course a good orchestra and conductor.
78The season so far at the Metropolitan Opera House has been a pecuniary fizzle, though last week the houses were better.
80Justice must be done to the excellence of the male cast in "L'Africaine," wherein the De Reszkés and Lassalle proved themselves a trio of great artists; but who wants to hear "L'Africaine?" A truthful but abnormal echo answers, "not the galleries," which have been ominously empty this season.
82There is little use of the "Herald" trying to foist such an absurd statement that last season at the Metropolitan Opera House the house was nightly papered.
84It is no use. Italian opera on the old lines must go—in fact, has gone—and its galvanized corpse has made but horrid leers and grimaces at Messrs. Abbey and Grau thus far. How true the above rumor is true cannot be guaranteed. Another delightful story is that the gallant and only Col. Henry Mapleson will occupy the house next season with a company headed
The computer misreads some letters and numbers. Where a name matters to you, read the scan.