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Musical Courier 1892-05-25: Vol 24 Iss 640, 1892
65 lines. Read by computer on 19 September 2026. Printed page 10. See the scan on archive.org.
1FOREIGN NOTES.
3For the Roof Garden.—London, May 21.—The following artists have been engaged by Mr. Rudolph Aronson for the roof garden concerts at the Casino to begin early in June:
4Mr. Stainville, artiste fantaisiste, from the Café des Ambassadeurs, the Alcazar, &c., Paris.
5La Granadena, Spanish dancer, from the principal theatres of Seville, Madrid and Granada.
6Mr. Felix, eccentric dancer, from the Vienna Opera House.
7Miss Mabel Stevenson, American bird warbler.
8Léon Espinosa, ballet master from the Alhambra and Lyceum theatres, London, and the Espinosa ballet quartet.
9The latest compositions of Waldteufel, Gillet, Audran, Varney, Serpette, Desonnes, Broustet, Vasseur, Fahrbach and Strauss will be introduced during the season.
10The costumes for Rosenfeld's and Aronson's operetta, "The Rainmaker of Seville," are being designed by Percy Anderson, of London.
11Mr. Aronson sailed to-day by La Champagne in order to be present at the opening of the roof garden.
13London News.—The new Polish pianist, Slivinski, is meeting with enormous success in London. He studied under the same master who instructed Paderewski. The fame of the latter virtuoso, however, is undimmed. Two hundred and sixty guinea tickets have been sold within the week for Paderewski's next recital, when he will probably beat the Rubinstein record by a total of receipts reaching £1,200. The rather long list of American prima donnas has just gained another name, that of Miss Sedohr Rhodes, of New York. This lady, who studied under Marchesi in Paris for three years, made a highly successful début this week at the Nicolini Theatre, in Florence, in the ever popular "Lucia." Italian critics who have heard her predict a brilliant future for Miss Rhodes.
15Women and Music.—It might have been thought that if practice gives perfection, women would have excelled her male counterpart, not only as an executant, but as a composer of music. But what are the facts? In instrumental performance she cannot for a moment compare with him, while as to composition she is nowhere. The repertory of music from the dawn of the art to the present day owes simply nothing to her. Considering the time she has spent over it, her failure to evolve new harmonies or even new melodies is one of the most extraordinary enigmas in the history of the fine arts.
17Where in ancient times or in modern can woman, with all her practice, be found to have created one chef d'œuvre in music? The inference implied by the negative answer to such a question seems simply this: That in the higher efforts of mind—even in those where the admixture of an emotional element, as in music, might be supposed to give her the advantage—woman is inferior to her male counterpart and cannot by any educational forcing system be made to equal him, deficient as she is in the physiological conditions of ideoplastic power.—London "Lancet."
19Alvary for London.—American Wagnerites who are in London in June and July will have a chance of hearing a good many operas of the Bayreuth master and their especial favorite, Alvary, as "Siegfried." One complete performance of the "Ring of the Nibelung" is promised by Augustus Harris on the evenings of June 22 and June 29, July 6 and 13, while there will be an extra "Siegfried" night on June 8. Alvary will then be heard in England for the first time. He is spoken of in London as "a robust and indomitable 'Lohengrin,' 'Tristan' and 'Siegmond,' whose reputation is based upon a long series of successes in Germany and the United States alike." "Lohengrin," "Die Meistersinger" and "Der Fliegende Hollander" will be given in Italian, with casts familiar to the London public as far as the male vocalists are concerned, the rôles of "Elsa," "Eva" and "Senta" being intrusted to Melba and Eames and Macintyre.
21From the "Evening Post."—The new Polish pianist, Slivinski, is meeting with great success in London.
22Miss Sedohr Rhodes, of New York, a pupil of Marchesi, in Paris, has made a successful début in Florence in "Lucia." Rubinstein conducted the first performance of his opera "The Maccabees," at Kroll's Theatre, in Berlin, on May 12.
23Massenet's oratorio "Marie Magdalene" is to be produced in Paris with operatic accessories, like Liszt's "St. Elizabeth," which in this form has proved so successful in Germany.
24While Italian singers are getting poorer and scarcer every year, bands seem to flourish in that country. It is reported that as many as fifty-five national bands of Italy are to take part in a contest to be held at Genoa in connection with the forthcoming celebration of the Christopher Columbus centenary.
25At a recent lecture in London Mr. W. Ashton Ellis gave the following skeleton synopsis of Wagner's book on the "Art Work of the Future," which was written in six weeks in 1849. The art work of the future is to include: (1) Art of dance—i.e., the pantomimic portion of the drama—gesture based on rhythm; (2) tone, compared by Wagner in a magnificent metaphor to an unfathomable ocean which bound together the lands of dance and poetry; (3) poetry, necessary to give music definite expression; (4) architecture, employed in the auditorium and stage; (5) sculpture, vivified in the actions of the actor; (6) painting, utilized in the scenery. In conclusion, the lecturer said that Wagner's "Art Work of the Future" was not, as had been advanced, a glorification of his own musico-dramatic system, but a great look forward to the time when art should become a part of our daily life.
26Among the treasures that can be seen at present at the Musical and Theatric Exhibition in Vienna are the vocal and instrumental parts of a chorus from the "Orestes" of Euripides, the only specimen of Greek music that has been preserved; the MSS. of the first operas ever written, Caccini's and Peri's "Eurydice" (dated 1600), and Monteverde's "Orfeo" (1607); Mozart's piano and violin, with the original scores of the Requiem, the G minor symphony, "Don Juan," &c.; original scores of Schubert, Weber, Beethoven and most other famous composers. Liszt is very liberally represented, while Wagner is the only composer for whom a special building, called the Gibichung Hall, has been erected. The originals of almost all his works are there, having been forwarded from Bayreuth and by King Ludwig's heirs.
27After spending an hour in the Gibichung Hall tourists are expected to pay a visit to the Wagner Museum, which has existed for years in another part of the city. This museum now contains over 10,000 books, pamphlets, busts, photographs, Bayreuth curios, criticisms, &c., relating to Wagner and his works. The owner of the museum, Nikolaus Oesterlein, has collected all these objects at his own expense. The latest addition to his collection is a complete set of articles from the French papers relating to the first performance of "Lohengrin" in Paris. For the benefit of visitors to the museum and others, Mr. Oesterlein has issued a Wagner catalogue in three huge volumes, describing his acquisitions up to 1883. This invaluable work, which enables one to see at a glance what articles on Wagner have appeared in the principal newspapers and periodicals ever since 1840, is published by Breitkopf & Härtel (Leipsic and New York).
29Opera at Covent Garden.—London, May 16.—The opera season at the Covent Garden Theatre, under the management of Sir Augustus Harris, was reopened to-night, a double bill being presented. The house was crowded.
30The first part of the program was Gounod's opera in two acts, "Philemon et Baucis," with the following cast: "Philemon," Montariol; "Jupiter," Plaucon; "Vulcan," Lorrain; "Baucis," Sigrid Arnoldson. The conductor was Léon Jehin. Arnoldson's voice appeared to have lost the sonority of former years.
31The above was followed at 10 o'clock by Mascagni's "Cavalleria Rusticana," which was superbly mounted. The cast was as follows: "Turridu," Di Lucia; "Alféo," Dufriche; "Lola," Giulia Ravogli; "Lucia," Bauermeister; "Santuzza," Miss Eames. Conductor, Mancinelli.
33Wagner's Birthday Observed.—From London we learn that it was definitely decided that the Earl of Dysart, the president of the London Wagner Society, was to repeat his private celebration of Wagner's birthday on May 22. The concert was to be almost entirely vocal, no orchestra being engaged this year. The Earl of Dysart again extended his invitation to all the members of the Wagner Society, and Mr. Carl Armbruster will once more be responsible for the direction of the music, which will include copious extracts from "Tristan und Isolde."
35Polish Musicians Play Polish Music.—Polish pianists and Polish violinists we have in plenty, but for some occult reason they appear to religiously avoid performing their countrymen's music—that of Chopin, of course, excepted. Mr. Stojowski's recent concert in Paris marks a new departure in this respect. With the exception of an uninteresting quartet by Saint-Saëns and one or two unimportant trifles the program was devoted to the works of modern Polish composers. The most remarkable example of modern musical art in Poland presented was a piano and violin sonata—admirably played by Stojowski and Gorski—by Zelenski, director of the conservatoire at Cracow. The work is full of fine ideas, treated with singular boldness and unconventionality.
37An Interesting Concert.—An interesting concert was given by the New York Association Working Girls' Societies' Choral Union Tuesday evening of last week at Cooper Union. Gustav Viehl conducted, and G. Falkenstein was the accompanist. The union was assisted by Miss Rena Atkinson, soprano; Miss Annette Reynolds, contralto; Mr. E. Winrath, violinist, and the Amateur Sextet Club, H. Schmuhl conductor. One of the successes of the evening was achieved by Miss Annette Reynolds, who sang most artistically "La Zingarella," by Luzzi. Miss Reynolds was formerly contralto soloist of Mr. Louis Blumenberg's well-known Boston Quintet.
39A Correction.
40Editors Musical Courier:
41In my communication to THE MUSICAL COURIER from Minneapolis (No. 19, page 13) there is one typographical error which I ask may be corrected. In the letter of Marchesi we read: "About the death of my only daughter Therese." It should be "oldest." "Ida Basiliere-Magden" should be "Magelsen."
42Very respectfully,
43VALBORG HOVIND STUB.
45Misleading Communications.
46Editors Musical Courier:
47Some time since a communication appeared in your valuable journal purporting to give an account of an organ recital which was held in Trinity M. E. Church, in which the artist of the evening was entirely ignored. I, in concert with some of the leading musicians of this city, feel that an injustice had been shown to Miss Mathilde Lennon, who was unquestionably the star of the occasion, having received a double encore, which might truly be termed an "ovation." I have waited to see if some musician would not say something with reference to the above. Correspondents cannot be too careful of what they write, especially to a journal such as yours, which is looked upon as an authority by the musical world. Miss Lennon is too well known, both in England and America, to require any statement with reference to her wonderful artistic singing, but justice demands that something should be said in your paper with reference to what I hope was an unintentional slight.
48GUILVN THOMAS.
50The Passing of Patti.
51It is very probable that Patti never had in all her musical career such an experience as that she was subjected to during her recent festival held in the Madison Square Garden at the hands of the members of the chorus. The diva was obliged to pass between two rows of alti and bassi from the right of the stage to the centre, then down the middle aisle in order to reach the platform. On the opening night those whom she passed were content if her garments merely brushed theirs and were delighted because they were in such close proximity to the world's favorite warbler. On the second night the men gained sufficient courage, upon her return from the platform, to shake hands with her. The women at first did not quite dare to follow their example, but before the close of the evening everyone within reaching distance had touched her hands, for she held both out and they were grasped right and left by the aspiring ones, who afterward declared that they intended to preserve the glove that touched Patti.
52On Saturday afternoon, however, the date of the final performance, there was a far different demonstration. None but women were on the stage, and long before the hour of commencement the chairs on either side of the aisles through which Patti was to pass were filled with an eager, touch-thirsty set of female adorers.
53Conspicuous among the members of the chorus was a tall girl, with a shapely head, and hair like Rosa Bonheur's, who stood for a long time near the stairway used by the artists. Determination was written in every line of her face, and the reason was made evident to those near her, when after the first encore, "Robin Adair," was rendered, she followed Patti down the steps, caught up her train and went with her into the ante room. What passed there no one knows, but she resumed her place a few minutes later and became a subject of discussion among those who surrounded her.
54Just prior to Patti's second appearance she arose abruptly, walked over to the side of the organ and stood there until Galassi had finished his aria, when she swiftly descended to one of the front rows of the chorus and occupied a vacant chair near the aisle. After Patti had finished "Home, Sweet Home," and while the applause thundered through the vast building, she stepped out into the aisle and deliberately kissed the artist. Some of the women appeared shocked, other envious, but those through whose ranks the songstress was compelled to move, encouraged by the unheard of liberty taken by the tall girl, did likewise, and fully twenty boasted that they had kissed Patti. When she left the stage for the last time she was so besieged all the way from the platform to the stairway by the women that she laughingly threw her head back and was almost smothered with kisses. Those who could not kiss her lips kissed her neck or arms. It was almost impossible for her escort to extricate her from the excited throng that held her in. The wonder is that her robe was not torn in shreds.
55It is doubtful if Patti ever went through such an ordeal in her life, or would ever care to go through a similar one again. It is also a question whether or not she cares for such promiscuous kissing, but she had no voice in the matter on this particular occasion. The women who stole the kisses, however, were perfectly happy, and will probably boast of it during the remainder of their lives.
56A SUBSCRIBER.
58THE FAMOUS
59New York Conservatory of Music,
60ESTABLISHED 1863—CHARTERED 1865.
61Removed from Fourteenth Street to the Large and Elegant Building,
62112 EAST EIGHTEENTH STREET,
63Between Fourth Avenue and Irving Place.
64THE EMERSON PIANO IS USED.
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