Scan 11
Musical Courier 1892-06-15: Vol 24 Iss 643, 1892
76 lines. Read by computer on 22 September 2026. Printed page 12. See the scan on archive.org.
1The International Music and Theatre Exposition.
3[WRITTEN FOR THE MUSICAL COURIER.]
5BY CHARLES LÉGER.
7ON Saturday, May 7, 1892, His Majesty the Emperor Francis Joseph I. opened the International Exposition in the presence of a great crowd of people of all classes. After holding a lengthy speech he was shown around the different exhibits by Prof. Guido Adler, of the German University in Prague. His Majesty seemed highly pleased with everything. The exposition is due to the energy of the Princess Pauline Metternich. Before giving a history of the exhibits I will name the leading personalities who are also connected with the exposition:
9Princess Pauline von Metternich-Winneburg, Hon. Presidentess.
11His Excellence Oliver Marquis von Bacquehem; His Excellence Dr. Paul Gautsch, Freiherr v. Frankenthurn; His Excellence Count Erich Kielmannsegg; Dr. Johann Nepomuk Prix, Bürgermeister of Vienna, hon. presidents.
13His Excellence Alexander Markgraf Pallavicini, president.
15His Excellence Count Filipp Boos-Waldek, Baron Othon de Bourgoing, Nicolaus Dumba, Dr. Heinrich Jaques, vice-presidents.
17Dr. Emil Auspitzer, secretary and director.
19Oscar Hoefft, administrative director.
21The whole is divided or classified into the following, viz.: Ethnographical, music history, dramatic literature, &c., of Germany; the Court Theatre.
23The first contains objects of music, dance and theatre. Into this department there are only characteristic Volks instruments. Among those of different countries are instruments of the Croatians and all of the Eastern countries. The whole of this department contains 2,000 objects from the different museums of Austria, Germany and Holland.
25In the historical department, which is mostly represented by Austria-Hungary and Germany, the most interesting is the "Interieur Hapsburg-Lothringen," in which we see a quartet of instruments which belonged to and were played by Emperor Francis I. There are manuscripts and other instruments, facsimiles of Francis I.'s handwriting, compositions of his, &c., and the original Volks hymn which Haydn composed and also the harp which belonged to Marie Antoinette, &c. Division No. 2 contains busts of the Orient.
27In Division 3 we have manuscripts from when musical notation was commenced, versus Armenian, Byzantine and Gregorian chants. Divisions 4 and 5 contain old instruments of the twelfth to the sixteenth centuries. In the fifth division we have music of the "Minne" and "Meister" singers. Division 6 we have Catholic and Protestant church music.
29In Division 7 we see how the first attempt was made at music printing, until the movable metal types were invented in Italy and Germany, and besides examples from France and the Netherlands. Opposite in Division 8 different forms of the old song (madrigal) and its advancement to the new form of solo song (monodio), the opera in the year 1600 and its advancement in the following centuries. In the ninth division we have the several part vocal music from Munich under Orlando Lasso (sixteenth century). The tenth division contains two costly collections of instruments (mostly from the sixteenth and seventeenth centuries), belonging to H. R. H. the Archduke Franz Ferdinand d'Este, heir apparent. In the eleventh division we have the advancement in instrumental music, principally the lute, organ and clavier. Division 12 contains instruments of the Royal Museum in Berlin. In the thirteenth division the Baron Nathaniel de Rothschild has exhibited numerous costly instruments, manuscripts, &c.
31Division 14 contains instruments of the seventeenth and eighteenth centuries and on the right literature of modern folk songs, and to the left autographs and portraits of composers. In Division 15 we have the history of opera in Vienna, Munich, Dresden and Hamburg during the seventeenth and part of the eighteenth centuries. The interieur of 16 contains autographs, prints and portraits of composers of the eighteenth and nineteenth centuries. In Division 17 we find a collection of the finest old Cremona instruments of the renowned masters. This collection is exhibited by Carl Zach, the celebrated instrument maker. Among those are "Strads" and Guearnerius which were the former property of Edouard Remenyi and Henri Wieniawski.
33After these divisions follow the music heroes, commencing with Bach (and his family), Händel, Gluck, Haydn, Mozart, Beethoven, Schubert, &c. Opposite to the classics we have the Romantiker, commencing with Weber, Schumann, Spohr, Löwe, Marschner, Liszt and Chopin. Then follow the rest of artists of the nineteenth century. In the Munich division we have a few exhibits from the late King of Bavaria, Ludwig, which include manuscripts, letters, &c. from Richard Wagner. For the balance of Wagner's manuscripts, &c., a separate building is being erected in the Exposition Park. After these come the DRAMATIC LITERATURE AND THEATRICAL IMPLEMENTS OF GERMANY.
35This department is arranged in chronological order and contains the following groups:
371. Religious plays of the Middle Ages; Passion plays.
382. Citizen and peasant plays of the fifteenth and sixteenth centuries.
393. Drama.
404. Time of wandering English comedians.
415. German national drama.
43The first we see of this department is the Schiller Room in Marbach. Then follows a colossal figure of Grillparzer. In the showcase are original manuscripts of the works of Grillparzer, Schiller, Goethe, &c. To the left of this we see original manuscripts of dramatic literature, &c., which are exhibited by the Munich Court Theatre Intendant. After these follow the collection of H. R. H. the Grand Duke of Saxe-Weimar, Goethe, Schiller, and the theatre of the Weimar Court; then the exhibits of the court theatres in Stuttgart, Mannheim and Dresden. Then follows the theatres of Meiningen, Hanover, Frankfurt-on-the-Main, and several smaller cities of Germany. Those of Austria are represented by the following: Prague, Brünn, Graz, Innsbruck, Linz, Görz, &c. Following these come the exhibits of the IMPERIAL COURT THEATRES, divided left by the Royal Burg Theater and on the right by the Royal Court Opera. The first mentioned exhibits the "Senator's Hall" from "Julius Caesar," and in the middle portal the "Cathedral in Rheims" from the "Maid of Orleans," and the "Dreams of a Life," &c. The opera exhibits scenes from operas, ballets, &c., trophies of antique and modern weapons for theatrical use, and the "Governors" scene from Mozart's "Don Juan;" a scene from Nessler's "Trompeter von Säkkingen." Besides these the general intendant has exhibited several portraits of musicians, actors and actresses. After this division we come to the articles of instruction and knowledge belonging to different societies. The first group contains portraits, busts, autographs, banners and flags. Now we come to the collection of the Vienna Singing Society, and then concert and singing societies of Germany, Austria-Hungary and Switzerland; after these follow the exhibits of the Society of Music Friends and the Wiener Schubertbund. Then follow the different books of instruction, different methods for the instruction of the blind. Now we come to the separate exhibits which are thus far completed. We will commence with the BULGARIAN DIVISION.
45This division contains ethnographical matters of interest, instruments for national music, such as dudelsack, mandolins, violins, guzla, flutes, &c.; portraits and photographs which represent the old wandering minstrel. In literature we have church song books, national songs, &c.
47After seeing all these worthy objects we get to ENGLAND'S EXHIBIT, which, as well as music, also theatrical exhibits, represents a very interesting subject, especially in instruments, autographs, photographs and portraits. All of England's musical as well as literary exhibits should be carefully scrutinized, and then we walk two steps and we arrive in FRANCE.
49France makes a most wonderful exhibit; they are sparing neither time nor money. They have decorated their department with some very costly mattings. Their exhibit commences with twenty-one costumed figures, representing theatrical costumer from the seventeenth to the nineteenth century. Close od to this we arrive in the portrait gallery of authors of dramatic works, &c., from the eighteenth and nineteenth centuries. Following these we get to a most wonderful exhibit of all kinds of pictures and caricatures relating to theatre and music. In a separate division we see a collection of statues, busts and medallions of composers and authors of the last and present centuries. A complete collection can also be seen of authors' and composers' manuscripts of past and present, and autographs, letters, dedications, scores, &c. Among the scores are several of Berlioz's, viz., "Romeo et Juliette," &c., and also the original score of Massenet's "Werther" and several others which would take up too much space to describe. Now we arrive at the collection of antique and modern musical instruments from the seventeenth and eighteenth centuries, and also a harp of Queen Marie Antoinette from Nadermann, and the piano of the same queen and the harp of the King of Rome by Erard; &c.; so instruments of Rossini, Hans Ruckerts, of Antwerp, the latter from the year 1598, and also claviers which belonged to Jean Jacques Rousseau, Gaspard, Spontini and Chopin. From France we go still farther and arrive into sunny ITALY.
51I think that Italy has one of the most interesting exhibits that could ever be brought together. By going through the different ways, or as I will call through Italy, we get that musical enthusiasm and our inspirations are wonderfully increased. We try to see everything at once, but, alas, it does not go. We have too much to see, so we go slow, and the first thing that meets our eyes is a small black sign bearing the following in beautiful gold letters: "Royal Accademia di St. Cecilia," which has exhibited 580 works and eighty autographs, medals, &c., which are only part of which are to come from their most expensive collection in Rome. They have also on exhibition several portraits and expensive costumes of the celebrated tragedienne Adelaide Ristori.
53To the left of the "Accademia's" exhibit the Milan committee have exhibited articles from the "Bibliotheca Bradinenses," and also from the Basilica di St. Ambrogio. Still farther we get to a collection of scene pictures from the celebrated painter Ferri, and the costly exhibit of the Turin committee.
55Directly opposite we have the portrait of Donizetti, his bed, clavier, manuscripts and several other objects of interest which the Comité di Livorno have exhibited. It must not be forgotten that the same committee have exhibited portraits of Salvini, Rossi and Pietro Mascagni. Now we come to the Bolognese exhibit, where the "Liceo Musicale," the "Accademia di Bell' Arti" and the "Regia Filarmonica" have exhibited 500 works and autographs and forty-two interesting pictures. In this division are also the original scores of "Barbiere di Siviglia" and "Cenerentola." Then follow the rare and expensive codices and cantates which are from the committees of Padua, Mantua, Verona and Udine. Mantua has also on exhibition a most well preserved "Strad." In the same department are also private exhibits of great interest. His Majesty the King of Italy has also sent some costly decoration pictures from his own private library. Another most interesting exhibit is from the "Royal Accademia Bellini" in Catania. There are also thirty-two water colors from the last century, which are exhibited by His Excellency Count Nigri. The Milanese publisher Sonzogno has also, besides several exhibits, the original score of Mascagni's "Cavalleria Rusticana." With this I have given only a sketch of what Italy exhibits, and now, although being quite a big jump, but yet quite true, we arrive in RUSSIA.
57Russia does not exhibit much; mostly portraits, &c., although there are a few original manuscripts. The most that Russia has so far exhibited is by the Theatrical Administration. Several scenes are exhibited from operas, among which are "Fürst Igor," "Die Zauberin," "Der Dämon," "Der Nischini-Novgorodier," and from the ballets "Dornröschen," "A Summernight's Dream," and from the tragedy "Zar Boris." With this we conclude Russia's exhibit and then we arrive at the SPANISH EXHIBIT.
59In this division we have a collection of works from the dramatic authors and composers, who are faithfully represented, and are exhibited by the commission of Madrid, together with the Literatura Lírico Dramática." The same commission have also exhibited such articles as codices, &c., from the library of the Escurial, some of which are from the thirteenth century; the obras-escogidas from Gomez, from the seventeenth century.
61The Archæological National Museum in Madrid has on exhibition a rich collection of original instruments of Spain and her colonies. Songs from the fifteenth and sixteenth centuries are exhibited by the Academy of Fine Arts, as well as the dramatic works of Lope de Vega and two volumes of religious music.
63The Infant Isabella Franziska has exhibited twenty-eight antique and modern instruments, a large collection of manuscripts, autographs, &c., and with this we close the Spanish exhibit and go to BELGIUM;
65but as their exhibit is not completed I will proceed with the POLISH EXHIBIT.
67This department is divided into two divisions, the Chopin room, and the Liszt room close by gives a faithful representation of the room where Chopin lived in in Paris. Then there are busts, portraits, medallions of the master, a mask that was cast from Chopin's face after death, his hands and other things, such as autographs, portraits, locks of his hair and letters. The second division is the historical division and comprises several Polish musical instruments, &c., portraits of celebrated Polish composers, authors, &c. Among those of the Polish division who have exhibited are the Prince Czartowsky's Museum in Cracow, Count Carl Lanckoronski, the Music Society of Cracow and Lemberg, the National Museum in Cracow, the Ossolinski Museum in Lemberg, the Polish National Museum in Raperswyl, Count Andreas Potocki and several private exhibitors. With this we close our round of the "Fach Ausstellung."
69Till the present time I have not seen any American exhibit excepting the Steinway piano and the Mason & Hamlin organ.
71The exposition grounds have a gay appearance, and a few strangers are seen scattered here and there.
73In one of my future letters I will give a description of the exposition park, theatre, music hall, &c.
75Florence Drake.—Miss Florence Drake, a very talented young soprano, a native of Cleveland, is in the city on a visit. Miss Drake is a Marchesi pupil and has already proved herself a promising artist.
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