Scan 10
Musical Courier 1892-03-02: Vol 24 Iss 628, 1892
120 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
1A Partial List of Musical "Wonder" Children.
3Below is given a partial list of musical "wonder" children who appeared in public in London in the second half of the last century:
5ON THE HARPSICHORD AND PIANO.
61750. Snow, Jon., 9 years old. 1764. Mozart's sister, 13 years old.
71751. Davies, Miss, 7 years old. 1770. D'Arcis, 9 years old.
81753. Butler, Cassandra, 9 years old. 1774. Weichsel, Miss, 6 years old.
91754. Palschan, 9 years old. 1779. Simpson, 12 years old.
101760. Burney, Miss, 9 years old, daughter of Dr. B., the historian. 1780. Crotch, Will, 5 years old.
111781. Parke, Miss, 8 years old.
121792. Casson, Miss, 6 years old.
131792. Hoffmann, Miss, 6 years old.
141794. Field, John, 10 years old.
16ON THE VIOLIN.
171700. Schmähling, Miss, 11 years old. 1778. Siberte, H., 10 years old.
181774. Weichsel, Ch., 6 years old.
191790. Clement, Fr., 11 years old.
201792. Cramer, Chs., 7 1/2 years old.
211772. Schroeter, 9 years old.
23Of all these "wonder" children the names of but a few have survived. Those of Mozart, Miss Weichsel (later Mrs. Billington), for whom Cramer composed a duo for the piano and who was highly esteemed as a singer by Haydn; Master Crotch, afterward a celebrated organist; John Field and Miss Schmähling (later Mrs. Mara, celebrated singer).
25A Distinguished Quartet.—Stephen Storace, an English composer, born 1763 and educated at the Naples Conservatory, invited, when in Vienna, a party of musical friends. On this occasion one of his string quartets was performed by Haydn (first violin), Dittersdorf (second violin), Mozart (viola) and Vanhall (violoncello).—Kelly I., 240.
27Gluck, the Composer of "Alceste," and Forerunner of Wagner, as a Virtuoso on Attuned Glasses.—The "General Advertiser," of London, has the following announcement on March 31, 1746:
29"At Mr. Hickford's great Room in Brewer's street on Monday, April 14, Signor Gluck, Composer of the Operas, will exhibit a Concert of Musick by the best performers of the Opera house. Particularly, he will play a Concerto upon twenty-six Drinking-Glasses, tuned with Spring-Water, accompanied with the whole Band, being a new instrument of his own Invention; upon which he performs whatever may be done on a Violin or Harpsichord, and therefore hopes to Satisfy the Curious, as well as the Lovers of Musick."
31Mozart as the Inventor of the Piano Music for Four Hands.—Leopold, Mozart's father, writes in a letter dated July 9, 1764: "Wolfgang composed in London his first piece for four hands. No one before him had made a four hand sonata."
33His example was followed by Dr. Burney and by J. C. Bach and since then by every composer of note.
35Karl Klauser.
37An Interesting Musicale.
39One of the most enjoyable musicales of the season was given on Tuesday night of last week at the fashionable residence of Mrs. F. M. Nathan, 717 Park avenue, when the following program was performed:
41Piano solo, "Ungarische Zigeunerweisen"………….Carl Tausig
42Mr. Jacques Friedberger.
43Songs…{ "Ich muss hinaus"……………………………Kirchner
44{ "Es blinkt der Thau"……………………………Rubinstein
45Mrs. Anna Lankow.
46"Nocturne," for female voices, a capella………….Floersheim
47Misses Bailey, Cottenet, Pronick, Macdaniel.
48Mrs. Nathan, Lankow.
49Solo, "Die Grenadiere"…………………………….Reissiger
50Mr. Hermann Hovemann.
51Soprano solo, "Love Me Well"……………………..Bemberg one of two readings
52Soprano solo, "Love Me Well"……………………….Bemberg one of two readings
53Miss Bailey.
54Duo, from "Lohengrin"…………………………….Wagner
55Miss Alice Pronick, Mrs. Lankow.
56Songs…{ "Vieille Chanson"………………………….Gall one of two readings
57Songs…{ "Vieille Chanson"……………………………Gall one of two readings
58{ "Mädchen mit dem roten München"………………Mrs. Frederick Nathan.
59Songs…{ "Allerseelen"……………………………..Lassen one of two readings
60Songs…{ "Allerseelen"………………………………Lassen one of two readings
61{ "Mädchenlied"………………………………….Meyer-Heinmund one of two readings
62{ "Mädchenlied"…………………………………….Meyer-Heinmund one of two readings
63Miss Julie Müller-Hartung.
64Solo, Habenera from "Carmen"……………………..Bizet one of two readings
65Solo, Habenera from "Carmen"………………………Bizet one of two readings
66Miss Marian Macdaniel.
67Trio…………………………………………………….Lachner
68Misses Bailey, Cottenet, Pronick, Macdaniel.
69Mrs. Nathan, Lankow.
70Soprano solo, "Les filles de Cadix"………………Delibes one of two readings
71Soprano solo, "Les filles de Cadix"…………………Delibes one of two readings
72Miss Pronick.
73Quartet, "Zigeunerlieder"………………………….Brahms one of two readings
74Quartet, "Zigeunerlieder"…………………………..Brahms one of two readings
75Miss Julie Müller-Hartung, Mrs. Anna Lankow.
76Messrs. Albert Thies, Hermann Hovemann, Jacques Friedberger.
78The young ladies heard on this occasion are, with the exception, of course, of Miss Müller-Hartung, pupils of that sterling singer and vocal teacher, Mrs. Anna Lankow. They all showed the results of a most careful training after a positive method from an evident voice builder. Moreover, they sang with taste and musical expression. Especially was this noticeable in the case of the hostess, Mrs. Frederick Nathan, who sang her French song and an encore with infinite grace and finish, while Miss Pronick charmed the listeners with her pretty voice and nice musical phrasing. The entire musicale was far above what one usually hears on similar occasions, and it was thoroughly appreciated by a cultivated audience among whom we noticed: Mr. and Mrs. John D. Townsend, Mr. and Mrs. G. J. Walker, Dr. and Mrs. Alfred Meyer, Mr. and Mrs. Francis Preston Frémont, Mr. and Mrs. Henry Hotchkiss, Mr. and Mrs. Edward Hedden, Miss Schurz, Vicomte and Vicomtesse d'Abzac, Count d'Auxy, Mr. and Mrs. Irving Bennett, Mr. and Mrs. F. Edwin Elwell, Dr. and Mrs. S. I. Armstrong, Mrs. M. Oothout, Dr. Kucher, the Misses Martin, Mr. William A. Purrington, Mr. James Seligmann, Mr. and Mrs. F. C. Hilliard, Mr. and Mrs. Edouard Charpentier, Mr. and Mrs. Theodore Connolly, the Misses Shackelford, Mr. and Mrs. Dana Macdaniel, Dr. and Mrs. Northrup, Miss Louisa Westervelt, Captain McDonald, Mr. and Mrs. Theo. Wangermann, Mr. and Mrs. Cohen, Mr. Edward Penniman and others.
80Opera in Italian and French.
82Last Wednesday "Les Huguenots" was given to empty benches at the Metropolitan Opera House. The only notable artists in the cast were Jean Lassalle and Edouard de Reszké. The "Raoul" of Valero was very ineffective. Albani, Scalchi and Pettigiani assumed the feminine rôles. Thursday night was an extra night and a decidedly strong performance was given of "Faust," with Emma Eames, Scalchi, the De Reszkés and Lassalle in the cast. Friday night "Lakmé," with Marie Van Zandt, Montariol, Edouard de Reszké, Martapoura, Bauermeister and Ida Klein in the cast. At the Saturday matinée "L'Africaine" was repeated with a good "Selika" in the person of Miss Kaschoska, and last Monday night "Faust," which has been the drawing card of the season, was given. Tonight "Meistersinger," with Anton Seidl as conductor, will be sung for the first time of the season with this cast:
83Walther de Stolzing………………………………….Jean de Reszké
84Hans Sachs…………………………………………..Lassalle
85David……………………………………………………Montariol
86Veit Pogner…………………………………………..Serbolini
87Sixtus Beckmesser…………………………………..Carbone
88Fritz Kothner………………………………………..Delasco
89Kuez Vogel sang…………………………………….Grossi one of two readings
90Kuez Vogt sang………………………………………Grossi one of two readings
91Balthazar Zorn………………………………………Rinaldini
92Konrad Nachtigal…………………………………..Cernusco
93Herman Ortel………………………………………..Vaschetti
94Hans Schwarz………………………………………..Viviani
95Ulrich Isslinger………………………………………Claus
96Augustin Moser………………………………………Furst
97Hans Voltz…………………………………………..Mira
98Magdalena…………………………………………..Miss Bauermeister
99Eva…………………………………………………….Mrs. Albani
101Friday night "Carmen" will be given for the only time this season, with Julia Ravogli, Emma Eames, Magini-Colletti and Valero as principals, and at the Saturday matinée "Die Meistersinger" will be repeated.
103A Plea for American Conservatories of Music.
105Utica, N. Y., February 18, 1892.
107Conservatories were designed primarily to conserve musical art. They were originated by the church in order to improve its music while retaining its traditions. The first conservatory was that of Santa Maria Loreto of Naples, founded in 1537. Among the renowned schools of music in existence I may mention the Conservatoire de Paris, founded in 1784, and the conservatories of Vienna, Leipsic, and Brussels established at a later date. These institutions are maintained by the Government. Students are admitted after a competitive examination, provided they exhibit some aptitude. The principal objects of these schools are the preservation of the conventional forms and the diffusion of musical education, with the ultimate view of adding to the glory of the nation. Their method of training is rigid, and with a single purpose—thoroughness. In the United States we also have institutions called conservatories. I cannot say that each of these is entitled to this euphonious appellation, but I know that two or three of them are conducted as nearly after the system of the best European models as the lack of subsidy permits. Through the offer of increased salary they have already been enabled to add to their faculty several prominent teachers from European schools.
109The well-known fact that Europe has educated all our good musicians, native or alien, proves beyond question the superiority of its system of education. A reason frequently given for the lack of musical culture in America is that Americans possess less musical genius than Europeans. Were it not more logical to censure the methods of education used here? With the same thorough training Americans can equal Europeans in music, as they have done in every other field. Girls and boys that have a good ear, heart and mind abound around us, and they also have artistic temperaments. The main reason for their seeming inferiority is that they have been denied the advantages which others have enjoyed for centuries. Why should a country so fruitful in almost all other desirable ways be so deficient musically?
111No one caring for the moral and intellectual improvement of mankind can overlook the civilizing influence of musical culture; and while we ought to do much for musical education we have done but little. It is true we spend yearly vast sums of money in the importation of musical artists, but it is mainly on account of the momentary pleasure they give us, and not for the paramount good they might do as educators. We build costly music halls, and pay exorbitant prices to Pattis, Sarasates and Paderewskis, but we would not vote again for the legislator who would dare ask State or national aid for music schools. In the meanwhile our children must depend for their musical education almost exclusively upon self appointed "professors." But because we can have the self made business man we must not expect the phenomenon of the self made musician. The art of music can neither be acquired intuitively nor by haphazard experience. Besides aptitude and study, good teachers with a sound educational system are needed to make artists. If this is true no other agency can disseminate musical knowledge more thoroughly and widely than the well organized conservatory. For these reasons I believe that such an institution is entitled to the support of our best citizens.
113For lack of endowment or of governmental subsidy even the best American music schools cannot give free training to all the poor, though gifted, pupils who apply; but with the class system, so successful in Europe and already here, the expenses for a thorough education in all the ramifications of the art have been considerably decreased. In fact, in the class able professors can give instruction at prices lower than incapable instructors can afford to charge. There students are able to discern mistakes made by others, which if made by themselves they might not see. The ambition to equal or to surpass others spurs the student to greater effort. In the privacy of a teacher's studio the pupil often displays apathy and slovenliness; before hypercritical classmates rarely. The derision of an equal hurts more than the censure of a superior. In the class the student hears, feels, sees, understands and memorizes much that the teacher approves in others. Hearing much music he acquaints himself with a large répertoire and he unconsciously becomes a critic. In a good school the individuality of the pupil need not be lost, as some people would have us believe. With a good system the Pestalozzian principles can be carried out anywhere. The value of the class system has been determined by experience long ago, and class training has been recommended by many of the best instructors of music—Cherubini, Mendelssohn, Moscheles, David, Liszt, Vieuxtemps, Von Bulow, &c.
115In the science and art of music the mastery of one single branch does not suffice. Not only should the musician play or sing correctly, but he should understand that which he does. He must not be a parrot; yet, thanks to much of the private instruction given in this country, most players and singers babble the letter while ignoring the spirit. The skillful hand should be wedded to the cultured mind. No one can be a teacher or artist whose attainments begin and end in the hand or in the throat. Therefore specialists, however brilliant, are not of much value as educators unless their pupils can get from other men the remainder of the knowledge necessary to complete their musical education. One man, however wise, cannot give the student the full technical and theoretical training he needs. The best piano teacher cannot take the place of the conservatory faculty. I would not waste ink upon this self evident proposition were there not persons so absurd, or designing, as to deny its truth. I maintain it is alone the conservatory that can give the student his full equipment as a musician.
117I have often wondered how can the pupil find a good instructor among the many pseudo masters. How can he measure the alleged superiority of a teacher, though he be high priced and renowned? The best advertised man is often regarded as the most able. Self sufficiency, which thinking men regard as a sign of ignorance, blinds the public, and judicious advertising often becomes the leading factor in the good reputation of a bad instructor. It is possible, of course, that a talented musician may have established a good name more by diplomacy than by his artistic merit, and I will not deny that it is a desirable thing to have the talent of making one's talents known; but I wish to lay stress upon the fact that the student will find it almost impossible to judge rightly of the ability of a teacher, however celebrated and expensive; on the other hand, he might feel quite at ease as to the value of professors employed by a conservatory. The directors of a music school are entitled at least to the supposition that they know who are efficient teachers, and that they will select only such, if for no higher consideration than that "good goods bring good prices."
119How can the pupil outside of a conservatory receive the same quality and quantity of tuition for the same money? Can the private teacher give training in solfeggio, harmony, theory, history, ensemble, counterpoint, orchestration, &c., in addition to piano and violin, or vocal and organ instruction? The foregoing theoretical branches are taught gratis in good American conservatories to the student who enters the vocal or instrumental classes. In addition, the pupil has the opportunity of familiarizing himself with audiences. How often has not the work of a talented man been marred by nervousness! The concerts that are also given free to the students enable them to acquire a test for the best class of music and to develop their critical faculties. Of course pupils do not become judges of music simply by listening; thorough study alone can give the scales in which to weigh art products. But
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