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Musical Courier 1892-09-14: Vol 25 Iss 655, 1892
116 lines. Read by computer on 19 September 2026. Printed page 5. See the scan on archive.org.
1The Musical Courier.
2PUBLISHED EVERY WEDNESDAY
3—BY THE—
4MUSICAL COURIER COMPANY,
5(INCORPORATED)
619 Union Square W., New York.
7ESTABLISHED JANUARY, 1880.
8No. 655.
10EDITORS:
11MARC A. BLUMENBERG. OTTO FLOERSHEIM.
12JAMES G. HUNEKER. HARRY O. BROWN.
14BUSINESS DEPARTMENT:
15SPENCER T. DRIGGS. R. S. MAXWELL.
16A. T. KING. FRANK M. STEVENS.
18WESTERN OFFICE: Chicago, 226 Wabash Ave., John E. Hall, Manager.
19BOSTON OFFICE: 32 West St.
20BERLIN, GERMANY: PHILIPP ROTH, 94a Lützow St.
21LEIPZIG, GERMANY: GEHRÜDER HUG, Königstrasse 16.
22LONDON AND PARIS: BRENTANO'S.
24Subscription (including postage) invariably in advance.
25Yearly, $4.00; Foreign, $5.00; Single Copies, Ten Cents.
27RATES FOR ADVERTISING.
28PER INCH.
29Three Months………….$20.00 Nine Months………….$60.00
30Six Months……………..40.00 Twelve Months………….80.00
31Special rates for preferred positions.
32Advertisements for the current week must be handed in by 5 P. M. on Monday.
33All remittances for subscriptions or advertising must be made by check draft, or money orders, payable to the MUSICAL COURIER COMPANY.
35American News Company, New York, General Distributing Agents.
36Western News Company, Chicago, Western Distributing Agents.
38NEW YORK, WEDNESDAY, SEPTEMBER 14, 1892.
40SUBSCRIBERS should inform us when to change their summer address to their permanent residences. Many of our subscribers neglect this simple method, and then complain that the paper does not reach them.
42A NINETY-FOUR year old tenor, Angoli by name, will soon appear in Vienna at his benefit concert (not his farewell, be it remembered) and will sing among other things the famous "Tancred" aria. He must certainly be of kin to Bundelcund, the venerable prodigy.
44A PROPOS of "Pulitzer's Pest," as the New York "Sun" gracefully dubs the cholera, here is a program sent us by F. Wight Neumann, the Chicago manager, which speaks for itself and shows at the same time that music hath charms to soothe the microbe as well as the savage breast:
46SCHNELLDAMPFER "NORMANNIA."
47CONCERT PROGRAM.
48QUARANTINE, LOWER BAY, September 6, 1892.
49Mr. F. Wight Neumann, manager; Mr. T. Engländer accompanying.
50Orchestra.
51Songs for baritone—
52"Thou art my all"………………………………….Th. Bradsky
53"Ich liebe Dich"………………………………………Evard Grey
54Mr. Oscar Saenger.
55Piano solo……………………………………………..Mr. Xaver Scharwenka
56Mr. Xaver Scharwenka.
57Songs for soprano—
58"Love Sorrows"………………………………………Shelley
59"Winter Lullaby"…………………………………….De Koven
60Mrs. Sarah Duff.
61Banjo soli, as selected……………………………….Miss Sally O'Fallon, Mr. T. Marks.
62Songs—
63"Dear Heart"………………………………………….Tito Mattei
64"The Story of a Kiss"……………………………….Le Brunn
65Miss Lottie Collins.
66Comical recitation, "Isaac Silberstein"………………Mr. Gustave Vintscher.
67Piano solo, "Menuet"…………………………………Moszkowski
68Mrs. Dr. Lange.
69Songs for baritone—
70"Romanze"…………………………………………..M. Untersteiner
71"To Antheo"…………………………………………T. L. Hatten
72Mr. Fred Gillette.
73Banjo solo, "Home, Sweet Home," with variations…Mr. T. Marks.
75Mr. Neumann writes that Scharwenka and Lottie Collins brought down the house—the combination is a curious one—and Sarah Duff, of Chicago, and Messrs. Oscar Saenger and Gillette, the Arion baritones, charmed everybody with their performances.
77THE sporting editor of the "World" last Sunday said that John L. Sullivan when at his best was a combination of Paderewski and Rubinstein.
78This is a malodorous comparison with a vengeance. Probably we will soon hear of Corbett being called the "Chopin of the prize ring."
80THE Berlin "Boersen Courier" is misinformed when it declares that the Metropolitan Opera House cost $6,000,000 to erect. The land and building together cost about $2,000,000, and naturally have increased in value since the erection of the house. Artist Hoyt declares that the scenery he was painting before the fire was not inflammable, so it must have been the deadly cigarette that did the damage.
82BERNHARD STAVENHAGEN.
83BERNHARD STAVENHAGEN, the famous pianist and Liszt pupil, will give a series of piano recitals this season throughout America; so it is reported. Mr. Stavenhagen will therefore make one of several famous piano virtuosi who will play over the country.
85WOMEN'S MUSIC AFTER MARRIAGE.
86THE "Commercial Advertiser" recently contained the following:
87How often does one hear a young matron remark: "Oh, no; I haven't touched the piano since I was married" when someone requests her to play. Now, isn't this rather unfair to the parents who have spent so much to have her acquire a musical education, and who in many instances have denied themselves comforts in order that she might own the piano which to day remains closed and unused save at very rare intervals? Now, why is this? "I'm too busy" is the general answer made by the wives who but a few months or years ago delighted their friends with selections from the best composers. Five minutes a day is not much to spare, yet even so short a time as that given to practice would keep the fingers limber and prevent the ready excuse that springs so naturally to the lips. If nothing else, the keeping in practice should be regarded as a duty to those who have perhaps no accomplishments of their own, but desired their daughter to possess a higher education than theirs had been, and who revel in the marches, waltzes and old-time melodies their money has taught her to play.
88Perhaps it would not be out of place to say here that congeniality in the matter of music, a constancy of artistic tastes between newly married couples, might prove of extreme value in the matter of domestic harmony. There are other lights (to slightly misquote Edmund Clarence Stedman's remarks about Walt Whitman) in which to regard the dear one than as a singer of lullabies. By all means, husbands, let home music have a chance. A good pianist in the house is certainly not second to a good cook, though most men (the road to whose soul is through their stomachs) think differently.
90CHOLERA AND MUSIC.
91THE impression prevails among many non-residents of this city that we are in a panic about the cholera, that the plague rages within our walls to such an extent that business of all sorts is neglected and New York's citizens spend their time with camphor and chloride of lime.
92Many students of music residing out of town are timid about resuming their studies here, and with all the twaddle and nonsense printed in the daily papers we can hardly blame them.
93The truth is that even if the Asiatic scourge did effect a lodgment on Manhattan Island it would not kill one-half as many people as did the grip, and even then its victims would be confined to the great unwashed.
94Every department of music is in a most thriving condition this fall. Conservatories will be overflowing and private pupils promise to be in abundance. Concerts, concerts, concerts will flourish, and opera, grand and otherwise, will doubtless be given, but not at the Metropolitan Opera House this year. Piano recitals will be numerous, and all this in the teeth of the cholera scare. Therefore there need be no alarm on the subject, for not only are quarantine regulations excellent, but the cool weather has contributed to make New York a safe city as far as the cholera is concerned.
95Stop this silly cholera chatter and get to work, say we.
97THE M. T. N. A.
98POSSIBILITIES AT CHICAGO.
99THE following letter from the president of the World's Congress Auxiliary explains some of the latent possibilities of music at the world's fair outside of the domain of Theodore Thomas and his autocratic cohorts, who are desirous to run the exhibition as their own private and personal speculation, as far as music goes.
100Should arrangements be made by the M. T. N. A. committee to give concerts in co-operation with the auxiliary it would in no wise follow that there are to be no M. T. N. A. concerts at the exhibition proper. The M. T. N. A. is a greater institution, particularly from a national point of view, than Mr. Thomas' or Mr. Tomlins' choruses, and it must find official recognition of some kind from the exhibition authorities, who seem to be under the impression that Mr. Thomas is the only musical element of consequence in this country.
101The committee appointed by the M. T. N. A. has only just begun its work. It remains to be seen what the next few months will develop:
102CHICAGO, September 3, 1892.
103Mr. Constantin Sternberg, Chairman of the World's Fair Committee of the Music Teachers' National Association, 1741 North Fifteenth Street, Philadelphia, Pa.:
104MY DEAR SIR—I am glad to have your favor of August 24 and to assure you that the World's Congress Auxiliary recognizes both the established character and acknowledged merit of your organization, and sincerely desires its co-operation in the musical congresses to be held under the auspices of the auxiliary during the exposition season of 1893. I only regret that your committee was not earlier appointed and put in communication with the auxiliary. Your committee is, however, now welcomed as a "committee of co-operation" on behalf of your association, and will be entered on the records of the auxiliary as such, thus making it a part of our organization. From this time forward I shall be glad to receive from your committee whatever suggestions they may be pleased to make, either in regard to the general arrangements and organization of the congresses to be held in the department of music, the subjects to be presented therein or the eminent leaders by whom such presentation may most acceptably be made. All such suggestions will have the attentive consideration of the committee in charge of the arrangements and will be utilized in forming the programs for the proposed meetings.
105I send you by mail a copy of the list of congresses to be held, the preliminary publications in the department of education and music and the preliminary addresses issued in those departments. While the subject of public instruction in music strictly belongs to the department of education, it has been transferred to the department of music, in order that those who are devoted to the cultivation of musical art and those who are engaged in the instruction of the people in the elements of music may be brought into an agreeable association. It is not intended that the congresses shall be merged in one, but that they shall be held during the same week, and that the sessions shall be so alternately arranged that neither congress will conflict with the other.
106The subject of the official concerts to be given in the music hall on the world's fair grounds is entirely out of my jurisdiction, and I therefore make no attempt to reply to that portion of your letter which refers to them. You are doubtless aware that Mr. Theodore Thomas has been appointed musical director of the exposition and that the concerts will be under his direction, with Mr. William L. Tomlins as choral director. Any communication addressed to them in relation to those concerts will doubtless receive due attention.
107Awaiting your further communication, I am,
108Very truly yours, CHARLES C. BONNEY,
109President World's Congress Auxiliary.
111STILL UNDECIDED.
112THE stockholders of the Metropolitan Opera House met last Friday afternoon, the directors' meeting having occurred the day previous. Affairs have progressed but little, however, the next meeting being Friday next.
113The most important thing that occurred was the proposition of James Harriman in favor of converting the Metropolitan Opera into a national opera company. The "Tribune" last Sunday gave the best version of Mr. Harriman's scheme:
114James Harriman, who proposed the scheme of making the Metropolitan a national opera house at the directors' meeting, said that his plan had not been at all matured. It had occurred to him as a way out of the difficulty in which the stockholders seemed to be placed. It had been proposed to assess each stockholder such a sum as might prove to be necessary for the rebuilding of the house and the payment of the second mortgage. This sum might be anywhere from $5,000 to $10,000 for each box, and if any stockholder failed to pay the assessment he was to be dropped out of the company. This last point Mr. Harriman was sure could not be carried, and he did not believe that the stockholders would be willing to put further large sums of money into what had never been and seemed likely never to be a paying investment. In this position of affairs he had suggested a national opera house, for which subscriptions should be invited from all over the country. He believed that many could be obtained from people in Chicago, Boston, Philadelphia, Washington, San Francisco and other cities, for the sake of the advancement of art in music and the credit of the country in fostering it. He believed that many more of the directors looked on the plan favorably, and said that he meant to agitate the subject further before the final decision expected at the meeting of next Friday.
115The suggestion of the National Opera Company to divide its ministrations among the leading cities of the country contributing to its support was explained to Mr. Harriman, and he was asked what would be his judgment in regard to it. He replied that the idea appealed to him forcibly. Such a plan would involve a combination, as it were, of capital in various quarters for the achievement of ends which could not be accomplished by a company in any one city. He could see no future for opera
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