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Musical Courier 1892-09-14: Vol 25 Iss 655, 1892
77 lines. Read by computer on 19 September 2026. Printed page 10. See the scan on archive.org.
1Manager Strakosch has arranged for a series of concerts in this city in October. He believes the lad will duplicate young Joseph Hofmann's success with Gotham's music lovers. He will arrive on the 15th inst.—"Sun."
3The Southern Conservatory of Music.—This school is at Rome, Ga., and was established in 1885, P. J. Fortin director. This is the faculty:
5Piano—Mrs. P. J. Fortin, Miss Hattie L. Connor, Miss Katie Walmsley.
6Violin, Viola, Violoncello—Mr. P. J. Fortin, Miss Alida C. Printup.
7Vocal, Choral Singing—Miss Ruth Elvidge.
8Theory, Harmony, Counterpoint—Mr. P. J. Fortin, Miss Katie Walmsley.
10Opera at the Music Hall.—The possibility of grand opera being given in this city during the winter with first-class artists has brightened since it was announced that the Music Hall would be by January 1 in possession of an immense stage as large as the one in the Metropolitan Opera House. The work on the alterations will begin about the end of the present month. Mr. Morris Rene, the president of the company, is now in Europe consulting with Mr. Carnegie, and it will not be definitely known whether it is the intention of giving opera in the hall or not until he returns. It is thought that if any opera is given it will be German and under the direction of Mr. Walter Damrosch.
12There was a rumor that Messrs. Abbey, Schoeffel & Grau would make a proposition to the Music Hall directors to give opera in their building, provided they guaranteed the stage would be ready by January 1.
14Mr. Anton Seidl said that he had heard nothing about a plan of giving German opera at the Music Hall. He thought New York could not support the Music Hall as an opera house and the Metropolitan Opera House at the same time if the latter was rebuilt. He said German opera would pay if properly given, but favored the Metropolitan Opera House, which, he said, is the home of the glorious past and of the glorious future of music in this country.
16Mr. Oscar Hammerstein said that to give grand opera in Music Hall the building, to meet the requirements of the law, would have to be rebuilt. The law allows, he says, the auditorium of a theatre to be but 10 inches above the level of the sidewalk, while the auditorium of the Music Hall is about 15 feet above the sidewalk. Mr. Hammerstein intends, as is known, giving grand opera in English at the Manhattan Opera House during the winter, and thinks that his organization is the only one which will be heard here.—"Herald."
18New York College of Music.—Alexander Lambert will give his first concert this season at the New York College of Music on Monday, October 3.
20Musicians' Protective Union.—The Musical Mutual Protective Union held its quarterly meeting last week at its headquarters at 64 East Fourth street. The union heartily endorsed the letter which President Bremer wrote to the Secretary protesting against the decision of the Treasury Department classifying imported musicians as artists instead of workmen brought over under contract. The union has all along insisted that the general run of musicians are simply workmen, and that consequently all musicians brought to this country on contract must come under the provisions of the alien contract labor law.
22The proposition to build a house to be used as headquarters of the union came up, but there was a good deal of opposition to the project and the matter was tabled. The meeting decided to change the rule to give six performances a week in opera to five. Formerly four performances were given, and then at the request of the opera managers the union made it a rule that the orchestras and bands should give six performances a week. But as not more than five performances had ever been given it was decided to make that the rule.
24It was announced that Bandmaster Henry Hall, formerly leader of the Old Guard Band, had been expelled from the union because he had refused to pay his musicians what they claimed was due them.
26The meeting appointed the following committee to make nominations for officers that are to be elected at the December meeting: Messrs. Hobday, Norris, Nohles, Matteo and Lange.
28Mrs. Carl Alves.—Mrs. Carl Alves, the well-known contralto, has returned to the city after a pleasant vacation.
30The Grand Conservatory of Music.—This school has quite a number of pupils for the fall season. Increase of patronage requires increase of facilities to meet the situation. In consequence of this the following additions have been made to the faculty, viz:
32Piano—V. S. Benham, J. Wilhelm-Mofsky, who proved a fine pianist last season at the many concerts given.
33Violin—L. de Prag, formerly soloist of the Crystal Palace concerts, London, England.
34Harmony, Counterpoint and Fugue—J. Samson Tipson, Mus. Bach., Oxford.
36In addition a large stage, with full sets of scenery and every modern appointment, will be at the disposal of the students in the operatic department.
38Testing Voices.—It is a singular fact that the supply of female singers for the stage this season is greater than ever before, and far in excess of the demand, though there are more light opera companies being organized and there is a greater request for singers in farce comedy than in any previous years. A year ago it was exceedingly difficult to get chorus girls enough to properly equip operatic companies. Now there are two chorus girls to every situation, although the number of situations is doubled.
40"I just want a chance to have my voice tried," pleaded a pretty young girl of some experience to a friend on Broadway. "I never thought I would go in the chorus again, but there are so many nice girls going on the stage now I'll be lucky to get a chance to sign for the chorus."
42Trying voices takes a good part of the manager's time at present. To try a voice properly a theatre is necessary. A voice which fills an ordinary room may be too light for operatic work. Besides the stage a good pianist is necessary. Every empty theatre in New York re-echoes during the day to the operatic yowls of voices, male and female, that are being tested for possible engagements. Some days a dozen applicants are sitting around in the wings at the same time awaiting their turn. Pretty and well shaped young women with good voices are always in demand—especially if they have had any practical experience in opera,—"Herald."
44The Violoncello.—It is idiotic, according to Mr. Edward Howell in the "Victorian Magazine," to speak of the "cello." "Cello" simply means "little." If in these days of hurry a short name is necessary, let this instrument be called the "bass." At the beginning of the century the 'cello—we beg pardon, the bass—was fashionable. George III. and George IV. both played upon it. Its precursor was the viol di gamba or bass viol, with a flat back; the sound holes formed a crescent, the strings numbered five to seven and the fingerboard was fretted. The tone of this instrument was too small, and the violoncello was evolved as a baritone or light bass instrument about 1650. The finest classical solos for this instrument are Sebastian Bach's six sonatas. Duport's instruction book, written 100 years ago, is still (with very slight alterations as to methods of fingering) quite up to date. The English hold their fingers stretched out over the fingerboard in the first position, with every finger over its proper note in the scale of C. This keeps the fingers and hands always in readiness. The French hold the fingers sloping back as in playing the violin. This necessitates bringing the finger forward for each note, causes a loss of grip and a perpetual glissando. The right hand of the player has not only to move the bow, but to hold it, for the 'cello bow does not, like that of the violin, rest upon the strings. The bow is best held all round, the second finger resting on the nut, the little finger tackling the extreme end and the bow being controlled by the first finger. The instrument is not now held by the legs, but rests upon a peg of wood or steel which touches the floor. The ladies introduced this fashion, which is best for all. Piatti, however, still holds his instrument in the old way.—Exchange.
46Not for Milwaukee.—Max Heinrich denies by cable that he has accepted a professorship at the Milwaukee Conservatory of Music. He will, however, make a tour this season in America.
48Ragna Linne Strable.—Mrs. Ragna Linne Strable, a pupil of Marchesi, has been engaged as vocal teacher at the American Conservatory of Music, Chicago, J. J. Hattstaedt director.
50The Columbian Celebration.—Henry Wolfsohn has been appointed general business manager of the Columbian Celebration of the German Singers, which takes place at the Seventh Regiment Armory October 11, when Mela- met's prize cantata, "Columbus," will be produced for the first time in this country, 3,000 singers and 150 orchestra participating under the composer himself. The following soloists have been engaged for the work: Emma Juch, Marie Groebli, E. C. Towne and Heinrich Mayr. Besides the cantata the "Star Spangled Banner" and "Hail Columbia" are also on the program. The entire audience is expected to be at least 8,000, and will be requested to join with the orchestra and singers.
52Emma Juch.—Emma Juch, although she has had many flattering European offers, has concluded to remain here for several months to fill a number of excellent engagements. She will sing at the Columbian celebrations in New York and Baltimore, also in a number of concerts in Cincinnati, Providence, St. Paul, Boston, Washington, and several with the New York Philharmonic Club.
54Fernow at Ithaca.—Sophie Fernow, the pianist, has been engaged as teacher at the new Ithaca Conservatory of Music, which opens September 19.
56Celia Schiller.—This talented young pianist will be under the sole management of Louis Blumenberg this season.
58A RARE CHANCE.—A musician of universal gifts, one who has been educating young musicians of advanced culture and fitting them for important positions, can be secured as a music teacher in a college or university or in a conservatory of music. Specially adapted for courses in musical aesthetics and literature, lectures, and in the departments of harmony, counterpoint and composition. Address, care of this paper, "University."
60Henry C. Timm.
62TO the younger generation of music students and music patrons in New York Mr. H. C. Timm, who died at his home in Hoboken last Sunday a week ago, was only a name and fading tradition. He had long ago been compelled by failing health and the infirmities of age to withdraw from the active pursuit of his profession, and in later years he was so completely out of the public eye and ear that his very existence seemed forgotten. Yet for several decades Mr. Timm was one of the most prominent figures in American musical life. Fifty years ago he was one of the leading piano players of the city. He was also one of the founders of the Philharmonic Society, assistant director in its third and fourth seasons, president from its seventh to its twenty-first season inclusive (that is from 1848 to 1863), and an honorary member from the latter date to his death. He was pianist, organist, horn player, trombone player, composer, conductor—in short in his time, the period when the foundation of this splendid edifice of musical culture which is now the city's pride was laying, one of the best equipped musicians in the country.
64His activity may be said to have compassed half a century, for it was only seven years ago that he appeared upon the local concert stage for the last time. The occasion was a benefit concert managed by some of the leading musicians in the city, which had for its purpose amelioration of distressful financial circumstances into which he had been plunged by the failure of a bank in which his life's savings had been invested. The concert took place in Steinway Hall, on November 21, 1885. Mr. Thomas conducted the orchestra, and Mr. Timm figured in the capacities wherein he had once been distinguished. He played a movement from Beethoven's concerto in C minor, and with Mr. Richard Hoffman Mozart's concerto for two pianos in E flat. The orchestra played an "Inauguration March," and a choir, solo singers, and the band performed portions of a mass composed by Mr. Timm fifty years before. These original works were conducted by the concert giver. Mr. Timm was then seventy-four years old, yet we find that the "Tribune's" reviewer was able to praise his work for its intelligence, clearness of execution and "fair amount of power."
66Concerning the original composition the reviewer said: "The vocal music is fluent in melody and its harmonic texture is pleasing, the style, of course, being old. The more modern and ambitious effort disclosed in the 'Inauguration March' resulted in a less satisfactory manner, the execution of a purpose to weave into the march the strains of 'Hail Columbia' and 'Yankee Doodle' plainly presenting a more difficult contrapuntal task to Mr. Timm than he could perform to the satisfaction of a musician."
68Mr. Timm was born in Hamburg, July 11, 1811, and remained in his native town until he was twenty-four years old, when he came to New York. His chief musical studies were made under the direction of Albert Gottlieb Methfessel, whose part songs for men's voices were once extremely popular and may yet be heard. On his arrival in New York, in September, 1835, Mr. Timm took part in a concert at the Park Theatre, given for the benefit of John Kemble Mason. He leaped at once into public favor. Teaching was not to his taste, and he went on a concert tour through New England, which proved unsuccessful and he was forced to earn a livelihood for a time playing second horn in the orchestra of the Park Theatre.
70In the course of the next few years he was conductor of an opera troupe which made a tour through the South, and organist of a Baltimore church for six months; he gave concerts with Velane and the baritone De Begnis, and was chorus master and trombone player for C. E. Horn, who was then giving performances of English opera. The theatre burned down and Mr. Timm became organist of St. Thomas' Church and finally of the Unitarian Church. In the latter post he remained eighteen years. Mr. Timm was an excellent reader of scores and during all his long connection with the Philharmonic Society generally performed the duties of accompanist for the solo singers who took part in its concerts. In a brief memoir written by him a few years ago for Ritter's "Music in America" he says:
72"I seem to have been, for over twenty-five years, a kind of sine qua non at all concerts given during that time, playing accompaniments to all soloists, both vocal and instrumental. I modestly may claim that this was my forte rather than anything else."
74Mr. Timm was also frequently a solo performer at the Philharmonic concerts. In the memoir heretofore mentioned he preserves a record of an interesting incident, illustrating the patriotic feeling which seized upon the New York public at the breaking out of the War of the Rebellion. Here is an anecdote in his own words:
76"It was at the beginning of our civil war. The news of the firing upon Fort Sumter had arrived the day before our last concert that season. We had many thousand copies of the words of 'The Star Spangled Banner' distributed at the entrance of the Academy of Music on the evening of the concert, with the request to the audience to join in the
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