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Musical Courier 1892-05-11: Vol 24 Iss 638, 1892
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1of the musical profession there are more dahlias than violets. The former, unfragrant, earthy, uplifts its head on the stem, insolently conscious of its effective appearance, while the violet, delicate of hue and subtle of aroma, is trampled under foot by its implacable enemy, Nervousness.
3WHAT does this signify in the Boston "Shabbas Evening Kazoo?" : "It is scarcely worth while to suggest conspiracy until it be proved that the Boston critics have charged Mr. Nikisch with faults of which he is innocent." A conspiracy is a combination of men who judge their victim without any considerations of the questions of guilt or innocence, and that is the very charge made by THE MUSICAL COURIER against those Boston music critics who are constantly condemning and abusing Mr. Nikisch because he fails to agree with them. Do they desire him to join the conspiracy? Evidently he does not agree with them and places no confidence in their judgment, pursues his own course, succeeds in filling Music Hall to suffocation, secures the indorsement of the critical body outside of Boston and makes triumphant tours with his orchestra through the Union. No one else is doing anything of the kind.
5The result of all this may be a dismissal of these Boston critics from their places on the papers they are using to urge a musical conductor of fourteen years' experience in Europe and America to alter his tune to suit their provincial notions.
7PERSONALS.
9Mr. William C. Carl.—After an absence of nearly two years in Paris for study, under Mr. Alex. Guilmant, this talented young organist has returned to New York and already commenced a brilliant career. Mr. Carl, whose portrait occupies the front page of THE MUSICAL COURIER this week, has met with extraordinary success since his return, receiving the appointment of organist and choir director of the First Presbyterian Church, Fifth avenue and Twelfth street, New York, soon afterward, and has filled a large number of important concert engagements.
11Mr. Carl's playing is characterized by its breadth and brilliancy of execution, together with much delicacy and sentiment, while his pedal work easily takes high rank with our foremost organists.
13While abroad he filled a successful engagement at the recent International Exposition, at Edinburgh, Scotland, and held the position of organist at the American Church, Paris, for some time. Before leaving the latter city he was appointed to serve on the jury to judge the new organs built by Merkin & Co. for the cathedral at Guadalajara, Mexico, in company with Messrs. Guilmant, Dubois, Gigout, Dallier, Godinez, &c., and gave a brilliant recital in the "Salle des Fêtes" at the hotel of Mr. Menier, the well-known chocolate manufacturer, and returned with several compositions in manuscript dedicated to him.
15A series of seven recitals in the First Presbyterian Church, New York, terminating this week, Saturday, with a "Händel Festival," have received marked attention throughout the city and presented programs containing important novelties heard for the first time in this country. The series contained an "American composers' program, one of "French composers" and one from the works of Mr. Alex. Guilmant, together with those selected from the various schools of organ music.
17Mr. Carl will appear in solo numbers at the New York State Music Teachers' Convention at Syracuse, June 30, and at the Music Teachers National Convention at Cleveland, Ohio, July 5, and is booked for other engagements before the close of the present season.
19His studio is at Chickering Hall (piano and theory) and he receives his organ pupils at the First Presbyterian Church.
21LETTER FROM MR. GUILMANT.
23J'ai donné pendant un an et plusieurs mois des leçons d'orgue et d'harmonie à William Carl; je suis heureux de dire que j'ai été très satisfait de son travail et de ses progrès. Je pense que ce jeune artiste est sérieux et qu'il peut remplir avec distinction une place d'organiste et de professeur.
25Alex. Guilmant.
27PARIS, 31 décembre, 1891.
29TRANSLATION.
31I have given during one year and several months lessons on the organ and in harmony to Mr. William Carl; I am happy to say that I have been well satisfied with his progress, and I think this young artist is serious, and that he is able to fill with distinction a position as organist and professor.
33Alex. Guilmant.
35PARIS, December 31, 1891.
37They Saw Strong Sail.—Last Saturday afternoon Templeton Strong, the unquestionably strongest of the young American school of composers, sailed on the steamer Veendam of the Netherlands line, to return to Vevey, in Switzerland, where his wife and children are living and where he proposes to devote the coming summer to composition. He may come over, however, late next fall, with a new work in his portfolio, and which in all probability will again be brought out by Anton Seidl. Strong has made a host of friends during his short stay in New York by his good fellowship, amiability, kindness, unassuming ways and genuine modesty. At the dock last Saturday there were many of his friends to see him off, among them Victor Herbert, John Rietzel, "Baby" Schmidt, Harry Rowe Shelley and Otto Floersheim.
39It Is a Girl.—News comes from the other side of the great herring pond that Conrad Ansorge has been made the happy father of a lovely baby girl. Mother and child are doing well. Congratulations are in order.
41London Before New York.—Says the "London Figaro": Dr. Dvorak will in all probability visit London this summer, but in August he will sail for the United States.
43An English Lady Composer.—The gifted daughter of the Bishop of Gloucester, England, Miss Frances Ellicott, whose works include every form of composition, is at present engaged on an undertaking of an ambitious character, which is not unlikely to see the light in due time at the Three Choirs Festival.
45For the Litoff Monument.—Over 6,000 frs. have already been raised in Paris for a monument to the late Henry Litoff. Among the musical names of subscribers we note: Theodore Litoff, 1,000 frs.; Massenet, 100 frs.; Verdi, 200 frs.; Boito, 100 frs.; Saint-Saëns, 20 frs.; Chabrier, 20 frs.; Colonne, 20 frs.; Dupres, 20 frs.
47Rossini April Fooled.—Apropos to the Rossini centenary a funny story has come to light tending to show how even so confirmed a practical joker as Rossini could easily be hoaxed. Rossini, being the object of adulation by the fair sex, was one of the vainest of men. One day he received a letter which read thus: "A lady who has come from Naples to Milan to make the acquaintance of the maestro whose melodies encircle the globe and carry his fame into all parts of it will await you this evening at the Scala in box No. 9 of the first tier, to tell you viva voce what she dare not confide to paper." The author of the "Barber" turned his pretty note over in his fingers and reread it complacently. The writing was fine and elegant, the envelope crested and with a sweet and delicate perfume. There was no doubt about it that the writer was a woman of the world yielding to an irresistible attraction. "One more conquest," murmured Rossini, heaving a sigh of adorable conceit. He soon afterward heard that the Ambassadoress of France had arrived in Milan. She was "pretty, adorable and wild about your music. Her first care was to secure a box for to-night," remarked David, the tenor; "No. 9, I think." The composer of "Semiramide" flushed with pleasure. Left alone, he began a careful toilet, deluged himself with powerful extracts, had his hair curled and selected his finest cuffs and his most becoming studs. Promptly at the hour he repaired to the Scala. His feet skimmed over the ground and his heart bounded with sweet presentiments. He asked for box No. 9 and entered it trembling with hope and pride. Oh, deception! The box was empty, save for six chairs symmetrically arranged! Perhaps he was a little early, he thought, trying to reassure himself. Ladies of note rarely arrive before the ballet. The first act ended, and the second. Rossini paced the box like a wild beast. He cast furious glances at the door, expecting at each instant to see his Dulcinea. At the end of the third act the door opened slightly and an unknown hand offered Rossini a note, which he tore open and read feverishly. It contained these few lines:
49"MY DEAR MASTER.—The Ambassadoress of France has charged the undersigned with her excuses. It is impossible for her to come to the theatre to-night for three reasons: First, she has not left Rome; second, she will probably never come to Milan; because, third, she does not exist. [The French Ambassador had been a widower for three years.] Accept, incomparable maestro, the assurance of the profound esteem with which the undersigned has the honor to be your devoted admirer,
51"PRIMO APRILE."
53"The 1st of April!" cried Rossini, angrily crumpling the unfortunate note.
55Tom Hohler.—Monte Carlo, May 2.—Thomas Hohler, formerly a prominent English opera singer, who married the Dowager Duchess of Newcastle, is dead.
57The marriage of the duchess and Hohler was solemnized in 1879, shortly after the death of the Duke of Newcastle. For some time prior to the death of the duke the relations of the duchess and Hohler had been such as to excite public scandal. During the closing years of his life the duke was relegated to a back seat in his own household, while "Tommie" was treated both by the duchess and her servants as master of the establishment. The scandal following this condition of affairs was, in a measure, terminated a few months after the duke's death, when the duchess became the singer's wife.
59Coffin.—C. Hayden Coffin, the baritone who arrived in this city on the Saale on Tuesday of last week, has disputed for several years with Courtice Pounds for front rank among London's favorite singers. He is good looking and he is American born, though all his laurels have been won in England. He is a native of Portland, Me., educated in London, and made his first appearance on the stage about 1885. In January last he was named as the co-respondent in the divorce suit of Alberto Randegger, the London composer and music teacher, against his pretty young wife. Mr. Randegger was successful in his suit. Mr. Coffin is accompanied on his visit here by Mrs. Randegger, and it is an open secret that they will be married before they return to England. The young baritone will make his début here in "The Robber of the Rhine" at the new Fifth Avenue.
61Hanslick on Brahms.—Dr. Hanslick recently gave this pen and ink sketch of Brahms and Joachim: "Both have now been active almost half a century in the interest of the Ideal, true priests of the divine art. I first made the acquaintance of these two 'geniale Junglinge,' as Schumann called them, at Düsseldorf in 1885, at a music festival under Hiller's direction. They reminded me of the handsome hunters in 'Wallenstein's Camp,' when they went up the Ananassberg arm in arm to get a cup of coffee. Brahms, aged twenty-two, was a delicate looking youth with fine rosy complexion and long blonde hair; Joachim, two years older, more serious of mien, also beardless with dark complexion and hair—how they did enjoy springtime together! How their faces beamed with the enviable happiness of being famous in their youth! And to-day we see them again appearing hand in hand before the public, which greets them with cordial applause. During the thirty-seven years which have elapsed since that music festival at Düsseldorf Brahms has had time to grow a venerable white beard, and Joachim one that is at any rate speckled with gray; for the rest the two have remained unchanged. In honest musical work there dwells a preservative, rejuvenating force."
63A Woman Speaks.—"It is interesting," remarked a woman recently, "to note how the standard of American music, or, more properly, of music in America, has risen in the eyes of foreigners. In 1875 I went to Leipsic to study music. The instructor, in examining me, remarked, satirically, 'I suppose you play Gottschalk's "Last Hope?"' 'Yes,' I answered. 'And Thalberg's "Home, Sweet Home?"' he went on. 'Yes,' I said again. 'Bah!' he ejaculated, shrugging his shoulders; 'that is music in America.' I ventured to suggest that I also played Beethoven. 'Yes,' he said, scornfully, 'but how?' And I did not dare to show him. Afterward I found out how Germans graded the nationalities in music. The list ran: Russians, Polish, German, Italian, French, English, American. Since then America has made great progress, and its musical taste is no longer questioned abroad."—"Times."
65Verdi.—The composer Verdi, when asked a few weeks ago if he would add to his renown by composing other operas, said: "I will not deny that I feel able to write another opera or two, because my imagination is not yet dead; but there is one miserable hindrance—the physical fatigue of writing, of filling an interminable forest of leaves of music, all the millions of notes and signs which compose a score—that's what frightens me."
67Ernest Guiraud Dead.—The death is announced in Paris of the composer Ernest Guiraud. He was born in New Orleans, where his father was a professor of music, June 23, 1837. He gave at the age of fifteen years an opera to the Théâtre d'Orléans in New Orleans, "Le Roi David." The local critics encouraged him to go to Paris for a musical education. He studied the piano and harmony under Marmontel and Barbereau, and was in Halévy's composition days at the conservatoire. In 1859 he obtained the first home prize, gave up a place in the orchestra of the Opéra Comique, and went to the Villa de Médici, where he composed several remarkable pieces. In 1864 the Opéra Comique present an opera in one act, "Sylvie," by which his fame was attained. He composed "En Prison," presented at the Théâtre Lyrique in 1869; "Le Kobold," presented at the Opéra Comique in 1870, a brilliant success that the war interrupted; "Le Forgeron de Gretna Green," a ballet presented at the Opéra in 1873, and "Piccolina," in three acts, written by Sardou and Nuitter, at the Opéra Comique in 1876. He wrote several melodies on words of Ronsard, Victor Hugo and others, was a lecturer at the conservatoire, and esteemed in France as an artist of the highest order. Whenever the critics of New Orleans encouraged a student to go to Paris they recommended him to Guiraud, and he aided with all his learning and influence the musical students who came from his native city. He regarded his services to them as his duty.
69The Men Women Admire.—The access of devotion that Paderewski, the pianist, received from women in this country, Pierre Loti, the writer, has just received from woman in France. As it happens, in both men the feminine characteristics are marked, and strangely it seems that in both cases it is these that have most appealed to the enthusiasm of women. An equal admiration for anyone so superb in masculine attributes as Edouard de Reszké seems altogether reasonable; and in France there are other writers that it seems might have claimed the championship of women over a writer so feminine in discernment and so cloying in style, choosing his words like bonbons, as is the author of "Mme. Chrysanthème," and "Pêcheurs d'Islandes." On the contrary, in this country Edouard de Reszké was appreciated by his own sex, and only vaguely by most women, while the enthusiasm of Pierre Loti, as shown by the strong minded Mrs. Adam and her followers, took the form also of opposition to a writer whose ability and largeness of motive distinguish him in this genera-
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