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Musical Courier 1892-02-17: Vol 24 Iss 626, 1892
74 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1works to which the prizes shall be awarded shall be made known to the public under the auspices of the National Conservatory of Music of America, whose operatic conductors, vocalists, instrumentalists, choral forces, &c., insure an ensemble that must add largely to the effectiveness of the compositions. (4) The National Conservatory of Music of America reserves the right to give three public performances of the works to which prizes shall be awarded; these shall afterward be the property of the composers and authors. (5) Manuscripts shall be sent for examination to the conservatory, No. 126 East Seventeenth street, New York, between August 1 and September 1, 1892. The award of prizes will be made on or about October 15, 1892.
3Now has that grumbling bird of Paradise, the American composer, a chance of which he should avail himself.
5ANTON SEIDL TO CONDUCT.
7THE news that Anton Seidl is to conduct the projected series of Wagner operas to be sung in German toward the end of the Italian and French opera season at the Metropolitan Opera House is not so startling after all, for it has long been mooted that Messrs. Abbey & Grau are dissatisfied with both their conductors and the orchestra. Feeling that Vianesi would be totally inadequate to conduct "Die Meistersinger" or "Fliegende Holländer," the management wisely engaged Mr. Seidl for these performances, so that stars, chorus and orchestra will have to do their very best under the great Wagnerian conductor's baton. There need be no particular significance attached to the engagement of Mr. Seidl beyond a faint hope that Messrs. Abbey & Grau may alternate German with Italian and French operatic performances next season. Even this is doubtful, though not an impossibility by any means. Certainly if the present management take the opera house next season (and they in all probability will) the prices will have to be reduced throughout the house, for to repeat this year's experiment would be too costly. However, it will be decided next month and all vain conjecturing put to flight. Let Mr. Seidl be looked on as an entering wedge, and then who knows what the outcome may be? For the bad orchestra and the want of a cool, strong, experienced head have been more felt this season than any actual deficiency in the artists (particularly the male artists) engaged. The "Herald" of last Sunday has this to say of the engagement of Mr. Seidl:
9No rebuke to Mr. Vianesi is implied in Mr. Seidl's engagement. The two conductors are not foes or rivals. Each has his merit. Each has his own field. Mr. Seidl cannot approach Mr. Vianesi in the interpretation of Meyerbeer or Gounod, while Mr. Vianesi would, I feel sure, be willing to admit that Mr. Seidl is peculiarly fitted to direct the performances of "Die Meistersinger" and "Der Fliegende Holländer."
11This paragraph may be news to Mr. Seidl, however, for if he could not conduct Meyerbeer's works better than Mr. Vianesi he would not be Mr. Seidl; that's all. Any comparisons between the two men are supremely ridiculous, for in every department of his art Mr. Seidl towers above Mr. Vianesi, who would make a good chef d'orchestre in a small opera company, but to expect interpretations or even traditional tempi from him would be foolish. Anton Seidl is the man for the place.
13ROSSINI'S CENTENARY.
15THE details for the grand centenary of the prince of Italian melodists, Rossini, are being gradually formulated. On the last day of February the centenary will be celebrated throughout Italy and generally on the Continent. A committee of leading musicians, including Marchetti, Terziani, Pinelli and Maldura, has been formed in Rome to carry out the arrangements. The Government has decided to mark the occasion by the publication of the composer's correspondence. To this end a special commission has been allowed to search the archives of the Paris Opéra and the French Ministry of Fine Arts for any interesting documents, especially if likely to throw any light upon the puzzle and mystery of Rossini's life—his thirty-nine years' absolute silence in composition after the completion of "William Tell." In a recently published musical work by an English writer, Mr. Weber, organist of the German Chapel Royal in London, the explanation is given that Rossini made a vow never again to write a note of music, because he despaired of ever attaining the heights of musical perfection reached by Beethoven and Mozart. It will be interesting to see whether his letters confirm this explanation of the problem.
17At Pesaro, the maestro's birthplace, the festivities will last a week or more. The musical fêtes will include performances of "William Tell" and "L'Amico Fritz," historical concerts and competitions for local and foreign musicians. In addition there will be an exhibition of the wines of the district and a cattle show. The townspeople of Pesaro have resolved to purchase the cottage where Rossini was born and convert it into a museum.
19At Venice, where many of the master's works were first produced, besides operatic representations there will be a water carnival. At Turin a grand performance of the "Stabat Mater" is announced.
21Paris will observe the centenary by a performance of "William Tell." Some disappointment is felt that no move has so far been made in London to mark the occasion, and it is hoped that something may yet be done. Even in Italy there are signs of a decadence of the pure Italian school represented by Rossini. Last year the production of new works was far below the average, and the leading Italian composers, Verdi, Boito, Mascagni and others, are slowly and surely following in the footsteps of the advanced school.
23AN INTERESTING ANNIVERSARY.
25THE directors of the Philharmonic Society of New York announce that the fiftieth anniversary of the organization of the society will be celebrated by three festival concerts, to be given at the Metropolitan Opera House under the direction of Mr. Anton Seidl, conductor, on the evenings of April 21 and 23 and the afternoon of April 22, 1892.
27At the first of these concerts the program of the opening concert of the society in 1842 will be repeated exactly. Among other numbers Hummel's septet, the piano part of which was then performed by Mr. Timm, will now be given by Mr. Richard Hoffmann.
29NEXT SATURDAY EVENING.
31IT was Mrs. Jeanette M. Thurber who conceived the happy idea of giving a monster benefit for the "relief of the destitute blind," which takes place next Saturday evening at the Metropolitan Opera House. The program will consist of, first, an operatic concert, in which Emma Eames, Jean Lassalle and Edward de Reszké will participate, and part second will be devoted entirely to the production of Wagner's "Die Walküre," the first of the original German version being given with Paul Kalisch as "Siegmund," Emil Fischer as "Hunding" (first time) and Lilli Lehmann as "Sieglinde" (first time). The director will be Anton Seidl, who will conduct his orchestra. The opera will be mounted, as it always has been, by kind permission of the directors of the Metropolitan Opera House and Director Edmund C. Stanton. Mr. and Mrs. Kalisch are permitted to sing through the courtesy of their managers, Messrs. Abbey & Grau. The affair will be a dazzling success without peradventure of a doubt, and it is to be hoped will be a potent hint to the directors of the opera house. one of two readings
32IT was Mrs. Jeanette M. Thurber who conceived the happy idea of giving a monster benefit for the "relief of the destitute blind," which takes place next Saturday evening at the Metropolitan Opera House. The program will consist of, first, an operatic concert, in which Emma Eames, Jean Lassalle and Edward de Reszke will participate, and part second will be devoted entirely to the production of Wagner's "Die Walküre," the first of the original German version being given with Paul Kalisch as "Siegmund," Emil Fischer as "Hunding" (first time) and Lilli Lehmann as "Sieglinde" (first time). The director will be Anton Seidl, who will conduct his orchestra. The opera will be mounted, as it always has been, by kind permission of the directors of the Metropolitan Opera House and Director Edmund C. Stanton. Mr. and Mrs. Kalisch are permitted to sing through the courtesy of their managers, Messrs. Abbey & Grau. The affair will be a dazzling success without peradventure of a doubt, and it is to be hoped will be a potent hint to the directors of the opera house. one of two readings
34A SIGN OF THE TIMES.
36A GOOD sign for the "Times" would be "No music critics need here apply," and then have it set to music by Dave Braham, framed in black and sent to the city editor of the "Times." The following letter (the name of the writer being withheld by request) is but one of many recently sent to the offices of THE MUSICAL COURIER:
38Editors Musical Courier:
39What has (musically) got into the New York "Times"? Probably you may have noticed the articles herewith, cut from Sunday's and Tuesday's issues (report of concert of Symphony Society, report of Mr. Hubbard's recital, notice of concert of Peabody orchestra). They excite a suspicion that the "World's" office boy has been captured by the "Times" and has been put in charge of the musical department. They also read like some of your "Clamabake Harry" articles. (Signed.) one of two readings
40What has (musically) got into the New York "Times"? Probably you may have noticed the articles herewith, cut from Sunday's and Tuesday's issues (report of concert of Symphony Society, report of Mr. Hubbard's recital, notice of concert of Peabody orchestra). They excite a suspicion that the "World's" office boy has been captured by the "Times" and has been put in charge of the musical department. They also read like some of your "Clambake Harry" articles. (Signed.) one of two readings
42Attention last week was called to the sudden lapse into idiocy lucidity (one can call it nothing else) by Mr. Henderson or someone in the musical notices of the "Times," and a specimen brick was given. In last Sunday's issue there was a good sensible notice of the Philharmonic Society, probably written by Mr. Spinney in Mr. Henderson's absence, but for puerile kindergarten fooling read this report of the Kneisel Quartet, published in last Saturday's issue:
44The fourth and last of a series of chamber music concerts by the Kneisel Quartet was given last evening in the chamber music room at Music Hall, Seventh avenue and Fifty-seventh street. The members of this quartet are: Franz Kneisel, first violin; Otto Roth, second violin; L. Svecenski, viola, and Alwin Schroeder, 'cello. These gentlemen all belong to the Boston Symphony Orchestra. In that organization, however, the three first named are all first violin players, Mr. Kneisel being what the French call chef d'attaque and the Germans concertmeister.
46The compositions played by these gentlemen last evening were Beethoven's quartet in G major, No. 2, op. 18; variations from Schubert's D minor quartet, and Beethoven's quartet in E flat major, op. 74. The soloist of the concert was Mrs. Julie L. Wyman, contralto. She sang five French songs. Two were by Chaminade—"Ritournelle" and "Chant d'Amour." The others were Weberlin's "Au bord d'une fontaine," an unknown author's "Mon petit cœur" and Delibes' "Regrets." There was a good sized audience present and the applause was abundant.
48Thanks "Times;" one feels relieved to know that three gentlemen in a string quartet are violin players. Why didn't you add insult to injury by declaring that the fourth member of a string quartet party usually played the 'cello? To echo the question of the writer of the printed letter: "What has got into the New York 'Times'?" Perhaps "Rats!" one of two readings
49Thanks "Times;" one feels relieved to know that three gentlemen in a string quartet are violin players. Why didn't you add insult to injury by declaring that the fourth member of a string quartet party usually played the 'cello? To echo the question of the writer of the printed letter: "What has got into the New York "Times?" Perhaps "Rats!" one of two readings
51THE WORCESTER FESTIVAL.
53HERE is a glimpse of the affairs of the Worcester County Musical Association, as exhibited at the annual meeting last Friday. President Davis and Secretary A. C. Munro were re-elected. The secretary's annual report says:
55The current expenses for the festival of 1891 were in excess of the current receipts by the sum of $1,590.52. Included in this amount was the sum of $900 for new music, $125 for addition to stage, $80 for letter file, or $1,105 added to our personal property. Should we add to this amount the sum of $585.67 (being the interest accrued on invested funds and credited to our account) we would have the sum of $1,890.67, showing the association to be, in this way of reckoning, $111.15 better off to-day than one year ago. This is, however, not quite a fair view to take of the matter, as, although the music cost the sum named, it could not be sold without discount from the sum paid.
57There is no question but that we expended more for music last year than was entirely wise, and added expense was incurred on account of extra rehearsals required in order to properly master the works adopted. I have confidence that the experience gained will aid us materially in arranging for coming festivals.
59Four years during our history we have failed to receive the amount of expense incurred; the remaining thirty years we received a little more, amounts at the present time by our treasurer's report to $6,177.17, which, with the generous gift of a prominent citizen of $5,000, now amounting, with interest accrued, to $6,201.87, making the sum of $12,379.04 now on hand to our credit. Our librarian's report shows the association to be in possession of valuable property in books, stage and hall and office furniture, in good condition, increasing in value by yearly additions.
61It would seem to me the part of wisdom, while in no way relaxing our efforts for practical advancement along the lines laid down by the founders of our organization, and keeping up to our high standard for choral works and orchestral and vocal aid, to look with great care at all items of expenditure, so that the result may prove permanent financial as well as musical success in the coming years.
63PERSONALS.
65Valesca Franck.—We present to our readers to-day an excellent likeness of that talented pianist Miss Valesca Franck. Originally a pupil of that celebrated pedagogue, the late Theodore Kullak, of Berlin, Miss Franck received her finishing touches at the hands of no less renowned a teacher than Franz Liszt himself, with whom she studied for five summers at Weimar. After that Miss Franck was for several years a teacher of the higher piano classes at the Royal Conservatory of Music at Dresden. From there the lady came to this country to be heard in concerts and to teach the piano. She has played in several concerts at the Lenox Lyceum, and gave concerts of her own both this season and last at Steinway Hall, with most satisfactory results, according to the following criticisms:
67The Musical Courier says: "Valesca Franck's Concert—This gifted pianist gave a concert at Steinway's cosy concert parlor on Tuesday evening, March 3, which was attended by a large and fashionable audience. Miss Franck was assisted by two fine artists, Miss Charlotte Huhn and Mr. Franz Wilczek, violinist. The greatest interest, however, was centred upon Miss Franck, who only came from Dresden last October, where at the Royal Academy of Music she had been for several years one of the first teachers of the piano. Miss Franck proved herself in every way a thorough and able pianist, having a superior technic and playing with taste and skill, being repeatedly encored by the enthusiastic audience."
69The "Evening Telegram:" "A large and appreciative audience was present at the début of a new pianist, Miss Valesca Franck, last night in Steinway Hall. Miss Franck played with intelligence, feeling and excellent skill, and won at once the favor of the audience, who applauded her enthusiastically."
71The New York "Times:" "A friendly and sympathetic audience, which filled Steinway Hall, bestowed its commendation and encouragement upon Miss Valesca Franck, who came forward last night as a pianist. The impression created by the aspirant for popular appreciation was favorable. Miss Franck gives promise of becoming a favorite with the musical public, since she successfully challenged criticism on this occasion by her capable interpretation of a Gluck gavot, the 'Aufschwung' and 'Vogel als Prophet' of Schumann, the C sharp minor 'Nocturne and Valse' of Chopin and the 'Rhapsodie Hongroise' of Liszt.
73"New Yorker Staats Zeitung:" "In dieser Halle, welche jetzt mit besonderer Vorliebe fuer die sogenannten Kleineren Concerte benutzt wird, veranstaltete gestern Abend die Pianistin Fräulein Valesca Franck, die sich bereits im Jahres concerte 'des deutschen Frauenvereins' auf das Vorteilhafteste hier eingefuehrt hat, in Concert. Die Halle erwies sich gestern Abend als wirklich zu klein, denn es musste der anstossende 'ware-room' geöffnet werden um alle Besucher unterzubringen. Fräulein Franck spielte den Pianopart der interessanten Griechen Sonate, namentlich aber ihre Solonummern ganz vorzüglich. Sie ist ohne Zweifel eine Pianistin, die ueber eine bedeutende Technik, musikalischen Geschmack und Verstaendnis verfuegt. Einen geradezu packenden
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