Scan 5
Musical Courier 1892-09-14: Vol 25 Iss 655, 1892
125 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1in this country except through some such combination as this. It could provide performances such as could be afforded in no other way.
3The music lovers of Chicago, Boston, Washington, Baltimore, St. Louis, even San Francisco, would be assured that they would have exactly such opera as was given at the Metropolitan Opera House in New York—the best that New York could afford. The same company would sing in the Metropolitan Opera House and at some suitable opera house in each of the other cities, and the subscribers would not have to pay their money for something away off in New York, on the chance of deriving some benefit from it, but for something which would be brought directly to them and offered to them for their enjoyment, exactly as to the New York people.
5Mr. Harriman believed that this plan would meet with favor everywhere, and that when it was announced that books were opened for subscriptions to a company to give the best possible opera in all the leading cities of the country, there would be no lack of prompt subscribers in those cities.
7This scheme is not only ridiculous, unfeasible, but it also is extremely repugnant to any New York citizen who possesses a modicum of local pride. New York wishes its opera house for itself; let Boston, Philadelphia, Chicago, St. Louis, Cincinnati, Denver, and San Francisco erect their own opera houses if they desire them. Some of them have already. Mr. Harriman's idea is an infringement on artistic State rights and a slap in the face at municipal dignity. We coincide entirely with the New York Times when it says:
9There is a more serious consideration which works against the proposition of the ingenious stockholder. In order to make the institution national it should be directly an educational institution, a national academy of music. This was the aim of the ill fated American Opera Company, and it is an aim which the directors of the Metropolitan Opera House have never held in view. If there were attached to the opera house a truly national conservatory, including schools of vocal and instrumental music, in which the instruction should be equal to that for which American students have heretofore had to resort to Europe, then an appeal might properly enough be taken to the people of the whole country for what would then be really a national enterprise. For it would follow from the establishment of such an institution, if it took root and flourished, that every considerable town in the United States would have its own worthy and careful presentation of the lyric drama, just as every considerable town in Italy or in Germany has such a presentation of the national opera. But a program that does not extend beyond the worthy production of opera in a single city must necessarily appeal for its execution to the inhabitants of that city. The opera house must be rebuilt and maintained by the money and the public spirit of New Yorkers. If any of the stockholders fall by the wayside from weariness of the burden they have been bearing for all these years, and that is now unexpectedly increased, then their places will be taken by eager volunteers. To ask the whole United States to contribute to secure good opera for New York is to make a proposition that does injustice to New York as well as to the rest of the country.
11In the meanwhile the chances for grand opera in any language for the season of 1892-3 are decidedly slim.
13THE KETTLE IS BOILING.
15THERE is revolt all along the line, and the musical kettle that was threatening to boil over last week has boiled over in grim earnest at last. From over the country has arisen a protest at the one sided manner in which musical matters are being managed at the Chicago bureau of music of the World's Columbian Exposition.
17The music critic of "Town Topics" suggested, with some show of reason that if Mr. Seidl or Mr. Damrosch were in Mr. Thomas' position they would very naturally do as he is doing and gobble up all the good things of the musical pie.
19This is as it may be, but it in nowise affects the position of THE MUSICAL COURIER, for it would be as unjust in any case and with any conductor. Theodore Thomas is the doyen of American conductors, and while everyone is willing to grant him precedence yet he should remember that the Columbian Exposition is supposed to be a world's fair, and not a Chicago side show. We say "supposed" advisedly, for present conditions offer little hope for the American musician at large. One is almost forced to the belief that Mr. Thomas accepted his Western engagement with a view to securing for himself and his orchestra the rich crumbs of the feast.
21All this may be very natural, but it is also very selfish and unpatriotic. Admitting Mr. Thomas' claims to consideration for the admirable work he has done for music in America, yet is he the only one entitled to this same consideration? The truth of the matter is that Mr. Thomas simply does not and will not bother his head about anybody else in the universe; and as he has been invested with extraordinary powers by the proper authorities, he is going in for Theodore Thomas all he can. It is a case of devil take the hindmost, the hindmost in this case happening to be Messrs. Seidl, Damrosch, Van der Stücken, Nikisch, et al.
23Musical America is, however, thoroughly aroused and Mr. Thomas' action is being denounced in no uncertain tone. Even Edmund C. Stanton, secretary of the New York commissioners, can effect no satisfactory understanding with Messrs. Thomas and Tomlins about the representation of New York music at Chicago. Altogether music at the World's Columbian Exposition promises to be a two horse affair, entirely under Mr. Thomas' and Mr. Tomlin's thumbs, that is if the cholera does not step in and play the deuce with the whole scheme. THE MUSICAL COURIER protests in the name of justice against this unwarrantable Czar-like proceeding. Let America be represented, say we, and will continue to say until this representation is granted. Give everyone a chance, Mr. Thomas. Music existed in this country before your arrival and will doubtless continue to flourish after your departure.
25Fair play. Fair play, gentlemen.
27Here is an account of the latest interview with Mr. Thomas, which, to say the least, is unsatisfactory. It appeared in last Sunday's New York "Herald:"
29NEW BEDFORD, Mass., September 10, 1892.—While the newspapers are hunting for Theodore Thomas, Walter Damrosch is bringing forward several accusations against him, and the prominent musical enterprises of the East are appealing for an explanation of his doings. The great leader is taking his annual vacation in the backwoods of Fair Haven, in Southern Massachusetts. The vacation in his case is no misnomer. The only care Mr. Thomas assumes is to keep curious people, and especially reporters, off the premises. He lives in an ancient villa on the borders of the village.
31Mr. Thomas did not seem inclined to-day to relieve the forebodings of his confrères in New York by stating who would or who would not be invited. He gave me the usual excuse that it was his vacation and he did not choose to be annoyed. Besides, he said that appointments would not be announced until he decided the time was ripe, which would not be at present.
33As for the feeling among New York musicians he said he knew nothing about it, and it mattered little anyway, as New York was not the world, and only a very small part of it.
35He was good enough to say, however, that all the leading Eastern clubs would be represented at the fair, but not all would be invited. The invitations would depend only on his judgment of their merit. He was under no other restrictions. The amount of the appropriation did not hamper him and his own judgment would be supreme.
37Then in a burst of generosity he said that the Boston Symphony Orchestra and the New York Philharmonic Society would receive invitations; in fact, that their officers had been notified several months ago, but the organizations themselves knew nothing about it. As for Mr. Damrosch's orchestra he had nothing to say, and in this case it did not seem to be the silence which gives consent. That was all Thomas would say for print. He admitted it was more than he intended to say or should say until he was ready to make all the announcements in Chicago.
39The above insulting allusion to New York is quite on a par with Mr. Thomas' speech [see THE MUSICAL COURIER, April 29, 1891] at a testimonial dinner given in his honor in New York city under the auspices of such New York gentlemen as the late George William Curtis, Mr. Parke Godwin, William Steinway, Hon. Charles Van Brunt, Rev. Arthur Brookes, Andrew Carnegie, Louis Tiffany, Augustus St. Gaudens, Richard Watson Gilder and others.
41On that occasion Mr. Thomas insulted by his puerile talk the city that virtually supported all his enterprises and that largely contributed in making his name famous. Would Mr. Thomas be possible in Chicago if New York had not first dowered him with her approval?
43Bad policy this to disdain the bridge that carries one over.
45Besides, Mr. Thomas may wish to return to New York after the exposition and then this city will be a very large part of the world as far as he personally is concerned.
47COMPOSING AN ORCHESTRA.
49As an evidence of Asgar Hamerik's incapacity as an orchestral leader we give herewith the composition of the orchestra of the last Peabody so-called symphony concert given under his direction in Baltimore:
51First violins…….. 13 Oboes…………. 2 Trombones……….. 2
52Second violins……. 11 Clarinets……….. 2 Cornets…………. 3 one of two readings
53Second violins…… 11 Clarinets……….. 2 Cornets…………. 3 one of two readings
54Violas…………….. 2 Fagots…………. 2 Baritons…………. 1 one of two readings
55Violas………….. 2 Fagots…………. 2 Baritons………… 1 one of two readings
56'Cellos…………….. 4 Flutes………….. 2 Tuba…………….. 1 one of two readings
57'Cellos…………. 4 Flutes………….. 2 Tuba…………….. 1 one of two readings
58Double basses…….. 4 French horns…… 4 Tympani…………. 0 one of two readings
59Double basses…… 4 French horns…… 4 Tympani…………. 0 one of two readings
61Of the four 'cellists two sat as mere figureheads. The ability of the players need not here be discussed, but it may be said that the woodwind was abominable and that of the twenty-four violinists not more than a half dozen could hold their bows properly. And yet with such an orchestra Hamerik attempted Beethoven. We should like to hear "Harold in Italy" or "Eine Faust" overture by the above orchestra and then go off and join the Salvation Army at its Baltimore headquarters.
63Saint-Saëns at Berlin.—Saint-Saëns' opera "Samson et Delila" is to be produced in the course of next month, for the first time in Germany, at the Berlin Royal Opera, when the part of "Dalila" will probably be sung by Rosa Sucher.
65A FATAL REVENGE,
66OR THE MISSING MOTIF.
68LOGE looked at his questioner a moment and then said quite airily:
70"Lieber Fafner, how should I know anything of it? If the Meister failed to furnish our slim friend with a Leitmotif am I to be blamed?"
72"Na," grunted Fafner, displaying his gorgeous store teeth. "I suppose the Meister fancied that a cigarette always had a light-motif when it was smoked."
74"Indeed!" said Loge sneeringly.
76"At all events," resumed Fafner, "I wish you would tell the vapid little idiot that he has no business around the Metropolitan Opera House, and especially with our gang." Fafner's voice swelled with pride as he said this, and the Waldvogel up in the property room chirped approval.
78"I tell him, indeed!" said Loge angrily; "after Mr. Stanton having posted a notice that 'no smoking' would be allowed in the building. Tell him yourself or, better still, let that burly old idiot Wotan carry the news, aber Ich nicht."
80That settled it. Loge stalked away in a very dignified manner, and Fafner settled down in his dusty cave saying in a gurgling voice, "Lass mich schlafen."
82Loge walked toward his dressing room, bowed slightly to the Rhine maidens, whom he disliked intensely, gave the cold cut to Alberich, threw an old quid at the Bear and finally reached his apartment. Sitting down to ruminate over Fafner's words he was interrupted by a neigh from without and then sans cérémonie (or a bridle) in galloped Grane.
84"Yo yo to hoy," he neighed, "what d'ye say. Excuse me, Mr. Loge, I have such a professional manner. I just left two of the Walkuren and they couldn't stand."
86"What," cried Loge in a horrified tone, "drunk again!"
88"No," said Grane pleasantly. "They couldn't stand because they were sitting. Ho yo to ho!"
90The empty building roared with the "Walküre" motif, and once more the Waldvogel chirped cheerily away off in the property room.
92Loge couldn't stand this nonsense, so he fled. He ran off on the stage and stumbled over it to the Fortieth street side of the house, gained Marguerite's dressing room, which he entered and sat down to gain breath.
94"What a world! what a city! what a company!" he grumbled. "How many more seasons will I with this Wagner crowd hang around at night and listen to 'Faust,' 'L'Africaine' and Mr. Grau? It's disgusting, I think. Cholera or no, I will go to Hamburg. Even Reichmann and Alvary are better than this eternal footlight meowing, with Vianesi'jin the conductor's chair and Seidl in the boxes. I only wish that Alvary would come off his 'Tristan' perch, be sensible and give poor Loge a chance. He was a Loge that even Wagner would have admired. Why, Wagner's nearest living relative, Hans von Bülow, spoke highly of Alvary's 'Loge;' but then nothing ever is just right in this world. Here they are reviving 'Romeo and Juliet' and letting Wagner rust, I——"
96He was interrupted by a shrill voice at his elbow:
98"Serve him right. I hate him—he treated me scurvily and I hope that Mascagni will wipe out his name."
100"Hello!" said Loge in a telephonic voice, "what's this?" He looked about him, but could see no one.
102He was not startled at that, for he had had the tarnhelm on before, so he sat still and awaited developments.
104He hadn't long to wait, for the voice shrilled anew:
106"Oh, my dear Loge, you needn't look far. Here I am on the table."
108Turning his illuminating eye in that direction, Loge discerned a small, impudent cigarette, which reared on its hind legs and gazed at him in a very insulting fashion.
110"Oh, I know I'm small, but I have knocked many a good man out all the same," said he, with a J. J. Corbett smile.
112Loge smiled sadly and thought of Felix Mottl and J. Lawrence Sullivan.
114"I'm no straight cut, home made caporal," said the cigarette in a voice husky with rage; "I'm a genuine caporal and knew Wagner and Liszt personally. Wagner once confessed to me that he got his idea of Wotan by simply sketching Liszt's domestic relations, but I'm not telling this to everybody, Loge. Old Wotan Liszt once tried to smoke me, but a Liszt pupil came in for a lesson and he got mad and threw me away. I bear him no grudge, for like the ham I expect to be smoked sooner or later, you old lokimotif, but I have a grievance against Richard Wagner."
116Loge was by this time thoroughly interested. The cigarette continued:
118"Why didn't he put me in one of his music dramas?"
120This last was too much for his listener, who fairly yelled at the quaint conceit of the question. Once more the Waldvogel chirped afar in the property room, but it was a sinister chirp that awakened Fafner, who blinked in his cavern and growled:
122"Lass mich Bier haben," and then relapsed into slumber.
124The cigarette was furious at Loge. "Laugh away,
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