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Musical Courier 1892-12-14: Vol 25 Iss 667, 1892
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1Ecclesiastical Music Reform.
3OUR own columns were lately occupied by some correspondence on the important subject of church music, as also were those of some of our Roman Catholic contemporaries. The question has been taken up in an authoritative manner by the Archbishop of Goa. His grace's pronouncement seems so generally important that we venture to quote the following summary of it from our contemporary, the Bombay "Catholic Examiner:"
5The archbishop in the first place upholds the Gregorian chant as the proper ecclesiastical chant, and characterizes as disloyalty to the Church any attempt to criticise or oppose its use and culture. But let us hear the archbishop's own instructive words: "It is necessary that we call the attention, especially of the parish priests, to the general abuses regarding sacred music, that important element of the liturgy, in order to extirpate them. The only proper music of the Church is that chant which, on account of its plainness, gravity and other excellent qualities, is best fitted to give due expression to the praises of God and to raise in the hearts of the faithful genuine sentiments of devotion and religion." After contrasting the heavenly effect of this kind of music on St. Augustine with the worldly distractions produced by the modern fashionable church music, he exclaims with indignation, "How far from the proper scope and object of sacred music are most of the figured compositions, whether vocal or instrumental, we hear in our churches!
7"The introduction of those worldly airs and harmonies which are in no relation with the character of the sacred text; those arbitrary transpositions, omissions, and lengthy repetitions of words; those flourishes and turbulent instrumental accompaniments totally disproportionate to the voices, are some of the general faults of our church music, all of which fall under the censure of the Pontifical decrees. They prolong beyond all reasonable measure the divine service; they distract the faithful, drawing their attention from the Holy Sacrifice, the preaching and the edifying ritual of the Church; they detain unduly the course of the sacred functions; they give occasion not only for people to go in and out during the time of the service, as if to take rest or to talk outside and disturb the others, but that many appear only just for benediction and the procession of the blessed sacrament, or stay away altogether—all this on account of those prolonged musical performances, which make one believe that the music was not to serve but to domineer over the divine worship. Music is, indeed, an important, but not the principal, part of the service, and if it does not keep to its proper object it would be better to exclude it altogether."
9He urges on the parish priest to instruct efficaciously the "presidents of feasts" and the choir directors that all music which is too long, which savors of operatic and worldly tunes, which contains a mutilated text and disgusting repetitions, must be absolutely banished from the churches. If an organ is wanting and an orchestra is to be used, stringed instruments ought to prevail; no penetrating and heavy brass instruments are allowed; the vocal portions are to be supported by so many voices as not to be drowned by the noise of the instruments.—The "Tablet."
11The Harlem Philharmonic Concert.
13THE first public concert of the Harlem Philharmonic concert took place on Thursday evening of last week at Madison Hall. The orchestra, which is now in its second season, played throughout with admirable finish and balance, Mr. Henry T. Fleck conducting in a most able manner.
15The novelty on the program was Edgar Tinel's "Tableau Symphonique," to which the orchestra did ample justice; it is in three movements. The work is well scored and full of tone color. The other orchestral numbers were Haydn's symphony in D, which was well and intelligently played, and the prelude to "The Master singers," in which the orchestra was not so successful.
17Miss Emma Juch was the soloist and gave two arias in charming style. The public rehearsal as usual was given on the previous afternoon.
19Christmas Number.—"The Book Buyer," Charles Scribner's Sons' bright and interesting publication, has in its Christmas number fairly outshone its previous record, both in richness and variety of illustrations and reading matter. "The American Hebrew" put forth December 2 an illustrated book supplement in addition to its already very well stocked issue. Particularly noticeable are the reviews of musical publications, which are comprehensively and ably done.
21The Orpheus Society.—At the first private concert of the Orpheus Society, Arthur Mees conductor, which took place last Thursday evening at the concert hall of the Madison Square Garden, the soloists were Mrs. Anna Burch, soprano, and Joseph Hollman, 'cello. The society did most excellent work, showing the careful training and able conducting of Mr. Mees, and the soloists were well received. Mrs. Burch, as usual, came in for much applause. Mr. Albert E. Greenhalgh played, as he always does, with a fine appreciation of the artistic possibilities of the accompanist.
23West Sixty-third street. He was the son of William Munsey and was born in Gloucester, Mass., in 1846. He early displayed a talent for music and was sent to the Conservatory of Music in Boston, where he received his education. Last Thanksgiving Day he was stricken with the ailment which resulted in his death. He leaves a widow and one child.
25Corinne Moore-Lawson.—This estimable artist will be heard during this season in New York under the management of Mr. Louis Blumenberg.
27Death of Charles Rehm.—Charles Rehm, one of the oldest bandmasters in the United States, died at his home, No. 230 East Thirteenth street, Saturday morning. He had been ill for a long time. Mr. Rehm was born in Hanover, Germany. He received his first instruction in music when nine years old. His father and many of his relatives were musicians. When fifteen years old he joined the Seventh Infantry Band, stationed in Nienburg, Germany. In 1854 Mr. Rehm came to America and appeared as a cornet soloist in many concerts. In 1856 the members of Dodworth's Second Regiment Band elected him as their bandmaster. He was engaged also at Niblo's Garden in English and Italian opera. In 1859 he was elected a member of the New York Philharmonic Society. Later he became bandmaster of the Governor's Island Recruiting Service Band. At the time of the Civil War Mr. Rehm wrote "Our National Union March," which was dedicated to President Lincoln. In 1871 he was made bandmaster of the Twenty-second Regiment Band, of this city. In 1872 he received the appointment as bandmaster of the United States Military Academy Band, at West Point. Mr. Rehm resigned his place at West Point in 1887 because of illness. He was sixty-six years old. He leaves a widow, a daughter and a son.
29Suppe Seriously Ill.—Suppe, the composer of "Boccaccio" and other charming operas, is seriously ill in Vienna.
31Willem Coenen.—Clearly the inhabitants of Surinam are a grateful people. The eminent pianist, Mr. Willem Coenen—who, before he came to England in 1862, had lived in Surinam for eight years, and become well known there as a teacher and performer—has just returned from a vacation visit to the scene of his early triumphs. Thirty years is a long time, but the faithful Surinamites had not forgotten their former favorite. Of course he was asked to give a concert, and at its close he and his family were escorted by a torchlight procession, with military band, to the club, where a ball was given in their honor. Mr. Coenen was thanked by the president in the name of the company and replied, after which the festivities were kept up, report sayeth not till what hour. This, however, was not all. His departure on October 4 was the occasion of something very like a public demonstration. The Governor and a great crowd of friends accompanied la famille Coenen to the waterside; a small steamer, specially placed at their disposal by the Governor, conveyed them to their vessel, and the artillery band played till they were no longer within sight or hearing. After thirty years! Yea! the inhabitants of Surinam are a grateful people.—London "Musical Times."
33There is no one instrument, unless indeed it be a large pipe organ, capable of the variety of effects that are obtainable on the Aeolian. Unlike the pipe organ, however, the Aeolian is adapted to all classes of music; Overtures and Symphonies can be rendered on it with all the softness and delicacy of the flute and violin, and the power and variety of the combined orchestra.
35A waltz is played by the Aeolian with the sweetness of the violin and 'cello and all the snap and brilliancy of the piano.
37THE AEOLIAN CO.,
3818 West 23d Street.
40(Incorporated May 1, 1891.)
42NEW YORK VOCAL INSTITUTE.
43FRANK HERBERT TUBBS, Musical Director.
4497 Fifth Avenue, New York City.
45COMPLETE EDUCATION IN VOCAL MUSIC.
46Singers naturally prefer study where Voice Culture and Singing receive chief attention. All the teachers use the same method. Homes selected for pupils. Circulars sent on request.
47NEW YORK VOCAL INSTITUTE, 97 Fifth Avenue.
49NEW YORK COLLEGE OF MUSIC,
50128 and 130 EAST 58th STREET.
51ALEXANDER LAMBERT, Director.
52Mme. FURSCH-MADI, Principal of Vocal Department.
53ALL BRANCHES OF MUSIC TAUGHT
54Faculty comprises the most eminent instructors.
55NOTICE.—The New York College of Music will remain open during the entire summer.
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