Scan 18
Musical Courier 1892-12-14: Vol 25 Iss 667, 1892
380 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 19. See the scan on archive.org.
1played through its theme, recalling "Der Dichter Spricht," a melody which a tired brain hears, as in the murmur of a sea shell, suggesting itself, while the scherzo and rondo with duetlike crescendo reminded me of the night the cyclone swept over Louisville, irresistible in crashes of sustained harmonies, relentlessly whirling wind into scales of fire. Schumann's music always makes me think of saunterings in November woodlands at sunset beneath trees where trunks and boughs form columns and archways upholding branches exquisite in traceries against the burning splendor of the western clouds, but wondrously weird against the gray northern heavens. The splendor of Schumann's intellect is the abend-roth shining through his rhythmic measures; the crimson heavens closed around him all too early in his life's day; morgen-roth never came, only the gray vapors which precede earliest dawn; from them he wove a wondrous network of opal and pearl.
3The Chopin selections, with the étude of F major excepted, were more novel than those usually found on programs; the étude in F minor has never been heard here before. Mr. Sternberg is, we believe, the first pianist who has placed it among the Chopin selections for recitals.
5The Godard photogravures in tone were like music heard through the distance—even the distance of the Parisian world. Memory wandered into a certain studio in Paris: Godard was at the piano, Gabriel Faure, Widor and Saint-Saëns were grouped near him as he played the "Hindoo." "And what is he playing?" asked an English lord. "Theosophy in tone," was the reply and so it was as Mr. Sternberg played it last night, but esoteric religion fled as the valse No. 10 glided out; then splendor of palace balls filled the memory with visions of satin parsemé de l'or, crêpe froissé de velours. Saint-Saëns' Kermess was fitting close to such a program.
7The second week in November gave us the Lillian Russell Opera Company—"La Cigale" and the "Mountebanks." The latter is better suited to audiences requiring music of the concert hall description there is little or no "opera" about it.
9Notwithstanding her fatiguing journey across the continent, Miss Russell sang and acted admirably. Cappiani, her teacher, has surely done wonders with her voice; where else does the once marble-cold diva get her enthusiastic acting and firmly sustained tones? Five years ago she used to stalk about the stage and trill a little squeaky voice in true nannoy goat tremolo, but now she is so like an American beauty rose that the dainty noisette Van Zandt and the courtly Montpensier—Patti—bloom are nowhere beside her in dramatic force and beauty.
11The last week of October gave us the début of a Louisville pianist lately returned from Berlin, Mr. Henry M. Goodwin; and once more it becomes my pleasant task to speak in praise of so earnest a student and conscientious young teacher. He brings testimonials from Xavier Scharwenka and others with whom he studied in Berlin. He is devoted to his chosen profession, and it is a matter of congratulation that one so genuine casts his lot among the frauds and interlopers who have settled down in Louisville to mislead the musically unlearned among our citizens.
13Here is his program, which was remarkably well played:
15Scherzo, B flat minor………………………………………Chopin
16An den Frühling—To Spring..
17Erotik—Love……………………………………………..Grieg
18Vogelien—Bird…………………………………………..Schumann
19Schmetterling—Butterfly……………………………….Schumann
20"Love Will Forever Stay"……………………………….Franz Ries
21Miss Muldoon.
22Berceuse…………………………………………………….Chopin
23Nocturne C sharp minor
24Fabel—Fable……………………………………………..Schumann
25Grillen—Whims…………………………………………..Schumann
26Warum—Why…………………………………………….Schumann
27Aufschwung—Soaring…………………………………..Schumann
28"O heiss mich nicht von deinem Antlitz fliehn'!"……..Jensen
29"Dost Thou Know?"……………………………………Massenet
30Miss Muldoon.
31Concert étude in D flat…………………………………..Liszt
32Sixth Rhapsody…………………………………………..Liszt
34And now, laying down my pen, I fold my hands to wait in patience for the next musical event worthy of making "a note of."
36Octavia Hensel.
38Toronto Topics.
40Editors The Musical Courier:
42THE commentator on musical events in Toronto capable of going through life with a light heart and a smiling countenance must possess an epidermis of such thickness that compared with which the hide of a rhinoceros is as tissue. The frozen cheek of the proverbial hotel clerk would avail him nothing. Triple clad in steel and brass and self confidence that recognizes his own but no one else's opinions, is almost what is necessary to carry him through. If Chicago bred he might be all right, but I'm not sure even of that. The reason of this is that music in Toronto is split up into cliques, between which a bitterness of feeling exists that to a bystander seems ludicrous, contemptible and lamentable. The aforesaid commentator if built upon fair play lines likes to be just and kindly to all whom he is called upon to notice. Let him try it! Should his disposition lead him to enthuse somewhat profusely in favor of a budding aspirant for fame the competitors of the débutant go upon the warpath at once (of course there are exceptions) and the scribe begins to feel that life is a poor thing after all, and he envies those people having the good luck to be dead.
44While lunching at Harry Webb's the other day Fate, in the shape of a waiter, placed me beside a well-known musician, who, though a good friend and a nice fellow, ran foul of the lines upon which I occasionally write to THE MUSICAL COURIER. "Roberts," said he, "why don't you write the truth about—and—? They are frauds; you know it; we all know it. So and so understands as little about properly conducting the works he undertakes as I know of Sanscrit. He is a stumbling block to musical progress in Toronto, and ought to be called down."
46"My friend," said your correspondent, "when I finish this lunch I leave to call on the man you name, and I'll make a point to pump him in regard to you."
48I did so. Here is the result. Said the gentleman in question: "You ask me what I think of—as a teacher of the piano. Well, let me tell you something quietly: a pupil of his came to me not long ago for lessons. I examined her in elementary work, and found that, though supposed to be well advanced, she was so deficient that I could only accept her on condition of her consenting to a thorough revision of her entire rudimentary teaching."
50I call that a pretty even thing; don't you?
52If I dropped my bucket into the well and dealt out hard and absolute truth or found fault hypercritically with both of these men, how would they like it? And afterward where—oh, where under heaven would I be! Scattered like chaff before the wind, beyond a doubt.
54When the gods give me a special commission (and a thumping big salary) to sit permanently as a stern, inexorable judge I'll sift things to the dregs. Until then I feel it only incumbent upon me to write in as kindly a manner as possible. When worthy musical effort comes to my notice it will have recognition from me, let it spring from where it will. That is my platform. Those who don't like it have the glorious and immortal privilege of "lumping" it.
56Mr. J. D. A. Tripp, a Toronto solo pianist, who recently returned from study under Moszkowski, in Berlin, gave a recital at the Conservatory of Music on November 8. I did not attend, but a capable deputy filled my office. No little interest centred in the occasion, because prior to his departure for Germany Mr. Tripp had already made something of a name for himself, and people wanted to see how he had developed.
58The ingredients of Mr. Tripp's program were strong meat, of catholic diversity, and served well to exemplify his various powers. The impress of his latest master, however, was clearly discernible, and while he gave an evenly sustained and admirable interpretation throughout, he unquestionably shone to greatest advantage in Moszkowski's numbers. No doubt the "popular" flavor of those was an element in their success, but the advantage of having studied them under the composer's eye showed its fruit distinctly.
60Mr. Tripp commands power, a clearly developed technic and a nice sense of proportion in phrasing and expression. His octaves are brilliant, rapid and free; his scales even and sparkling. Though hardly as yet in the zenith of his powers, the future holds out very attractive promises to Mr. Tripp, promises which I expect to see fulfilled.
62The recital under notice brought out for a first appearance in Toronto Mr. H. N. Shaw, who, I am informed, added considerably to the evening's enjoyment in two eloquentary selections. A large audience was present, and the whole affair passed off successfully.
64Mr. Paul Morgan (son of Mr. J. P. Morgan, at one time organist of old Trinity Church, New York, and brother of Miss Geraldine Morgan, the solo violinist who won success last year when playing with the Seidl, Nikisch and Damrosch orchestras) has joined the staff of the Toronto College of Music as a teacher of the 'cello and composition. Until three months ago he had been living in Germany since his seventh year, and while there was a pupil of the Joachim school, and also of the Royal Academy, Berlin. A concert given at the college November 17 was for the purpose of introducing Mr. Morgan to the Toronto public. In the concert he was ably assisted by Mrs. Drechsler Adamson, violinist; Miss Reynolds, soprano; Mr. H. M. Field, pianist, and Mr. Burden, organist. As Mr. Morgan's playing was the particular feature of interest, I need only speak of him. His program numbers were well chosen to display his virtuosity, but on the whole, classical rather than popular. He draws a good, broad tone; clear, true and musical. His technic and style are well defined and bear the hall mark of the admirable school he was trained in. The acquisition by Mr. Torrington of men of Mr. Morgan's calibre must be vastly beneficial to the Toronto College of Music.
66Talking about schools reminds me that a conservatory of music has recently been instituted at Kingston, Ont. Mr. Oscar F. Teigmann, a highly reputed teacher of the violin and piano, is the musical director. Mr. Wm. Carey is the examiner. An extensive and capable staff of teachers has been engaged for the various departments of practical and theoretical music. Judging from a prospectus sent me, the Kingston Conservatory seems to have been organized much upon the same lines as the Toronto schools, Mr. Teigmann informs me that a large number of pupils were enrolled immediately upon the opening and that prospects are very good.
68Messrs. I. Suckling & Sons are, par excellence, the musical impresarios of Toronto. They brought on Seidl with a section of his New York orchestra November 17, packed their house and delighted everybody. Toronto comments on Seidl's conducting in a New York paper would so obviously be carrying coals to Newcastle that I refrain. Sufficient to say that he fully realized all the good things that have been said of him in your columns. His program, too, needs no reference to. Among the soloists were Miss Amanda Fabris and Mr. Victor Herbert, both too familiar to your readers to require special mention. Another that gave great satisfaction. Another soloist was Mr. Harry M. Field, the Toronto pianist, who gave Liszt's "Barcarolle" F sharp, and ballade E minor. In both of these, but particularly in the first, Mr. Field acquitted himself in a manner which left nothing to be desired. Toronto is proud, justly proud, of Harry Field. Other worlds will be his to conquer. Soon you'll hear him in New York or I'm no prophet. Crown him with laurels; he'll deserve it. one of two readings
69Messrs. I. Suckling & Sons are, par excellence, the musical impresarios of Toronto. They brought on Seidl with a section of his New York orchestra November 17, packed their house and delighted everybody. Toronto comments on Seidl's conducting in a New York paper would so obviously be carrying coals to Newcastle that I refrain. Sufficient to say that he fully realized all the good things that have been said of him in your columns. His program, too, needs no reference to. Among the soloists were Miss Amanda Fabris and Mr. Victor Herbert, both too familiar to your readers to require special mention. One that there gave great satisfaction. Another soloist was Mr. Harry M. Field, the Toronto pianist, who gave Liszt's "Barcarolle" F sharp, and ballade E minor. In both of these, but particularly in the first, Mr. Field acquitted himself in a manner which left nothing to be desired. Toronto is proud, justly proud, of Harry Field. Other worlds will be his to conquer. Soon you'll hear him in New York or I'm no prophet. Crown him with laurels; he'll deserve it. one of two readings
71"Metronome," a critic in "Saturday Night," finds fault with me in the last issue of that paper because in THE MUSICAL COURIER I insinuated that the Toronto Vocal Society were undertaking a season's program too extensive for their powers. Among a lot of things that I have written I have not do oratory. Had that been true my comments would have been justified. It seems, however, that I was misinformed, and oratorio will not be given. Accordingly it devolves upon me to make a correction and to say that the scheme of the T. V. S. is all right and practicable. Bon soir. Yours truly,
73EDMOND L. ROBERTS.
75NOTICE.
77Electrotyes of the pictures of the following named artists will be sent, prepaid, to any address on receipt of four (4) dollars for each.
79During a period of twelve years these pictures have appeared in this paper, and their excellence has been universally commented upon. We have received numerous orders for electrotyes of the same, and publish the subjoined list for the purpose of facilitating a selection.
81Adelina Patti
82Ida Klein
83Saskia
84Christine Nilsson
85Scalchi
86Gonzalo Nuñez
87Marie Rose
88Alfred Grünfeld
89Etelka Gerster
90Nordica
91Ada Yonath
92W. C. Carl
93Emma Thursby
94Teresa Carreño
95Marie Hauk—2
96Albania
97Emily Winant
98Lena Little
99Murio-Galli
100James T. Whelan
101Eduard Strauss
102Elenor W. Everest
103Marie Louise Dotti
104Franz Madi—2
105John Marquardt
106Zélie de Lussan
107Antonio Mielec
108Antonin Dvorák-Hills
109Charles M. Schmitz
110Friedrich von Fotow
111Franz Lachner
112Louis Lomard
113Marie C. Stanton
114Heinrich Grünfeld
115William Courtney
116Josef Staudigl
117Adolf Hesse one of two readings
118Adolf Hensel one of two readings
119Eugen d'Albert
120Lilli Lehmann
121Franz Kneisel
122C. V. M. Weber
123Franz Rumme
124Blanche Stone Barton
125Amy Sherwin
126Achille Errani
127Heinrich Gadeck
128John F. Rhodes
129Wilhelm Gericke
130Frank Tal
131C. V. M. Weber
132Charles Rehm
133Harold Randolph
134Adele Aus der Ohe
135Karl Klimt
136Edwin Klahre
137Helen D Campbell
138Alfredo Barili
139Walter R. W. Montriffo
140Mrs Helen Ames
141Eduard Hanslick
142Oscar Beringer
143Prinsen
144Edward Darmuthner
145Ch M Widor
146Rafael Diaz-Albertini
147Otto Roth
148Amadeus Carpenter
149W. L. Blumenschein
150Richard Arnold
151Josef Rheinberger
152Max Bendix
153Helen von Doenhoff
154Adolf Jensen
155Hans Richter
156Margaret Reid
157Emil Fischer
158Merrill Hopkinson, M D
159E S Bonelli
160Paderewski
161Stavenhagen
162Arigo Boito
163Paul von Jankó
164Carl Schroeder
165John Lund
166Edmund C Stanton
167Heinrich Gudehus
168Charlotte Huhn
169Wm H Rieger
170Rosa Lind
171Heinrich Abbey
172Maurice Grau
173Eugene Weiner
174Marion S Weed
175John Philip Sousa
176Teresina Tua
177Ivan R Morawski
178Leopold Winkler
179Costanza Donita
180Carl Radecke
181Heinrich Vogel
182Johann Sebastian Bach
183Piotr Tschaikowsky one of two readings
184Petr Tschaikowsky one of two readings
185Jules Peraud—2
186Adolf M Foerster
187J H Hahn
188Thomas Martin
189Clara Poole
190Pietro A Magni
191Richard Wagner
192Theodore Thomas
193Dr. Damrosch
194Carpanini
195Jenny Meyer
196Constantin Sternberg
197Dengremont
198Galassi
199Marie Balatka
200Libratti
201Johann Strauss
202Anton Rubinstein
203Del Puente
204Johann Strauss
205Julia Rive-King
206Hope Glenn
207Louis Blumenberg
208Fredrik Van der Tuerken one of two readings
209Fredrik Van der Tuck one of two readings
210Ferdinand von Hiller
211Robert Volkmann
212Julius Kietz
213A L Guille
214Ovide Musin
215Theodore Habelman
216Edgar H. Reszké
217Louise Natal
218Ethel Wakefield
219Carlyle Petersilea
220Carl Reinecke
221Gottfried Gemünder
222Emil Liebling
223Van Zandt
224W Edward Heimendahl
225S G Pratt
226Rudolf Aronson
227Victor Capoul
228Albert M Bagby
229W Waugh Lauder
230Mina W Waugh Lauder
231Melchiorre
232Hans von Bülow
233Clara Schumann
234Joachim
235Ravoux Sisters
236Franz Liszt
237Christine Dossert
238Dora Hennings
239A S Stanley
240Erich Carlschusen
241Heinrich Hofmann
242Emma Eames
243Emil Sauer
244Jesse Bartlett Davis
245D Busekister-Petersen
246Willis Nowell
247August Hyllested
248Gustav Hinrichs
249Xavi Scharwenka
250Heinrich Boettcher
251W E Haslam
252Carl E Martin
253Johann Rist
254Walter J Hall
255Conrad Ansorge
256Carl Baermann
257Emil Steger
258Paul Fisch
259Louis Svecenski
260Henry Holden Huss
261Neally Stevens
262Dyas Langan
263Ada Le Claire
264Mr and Mrs Carl Hild
265Anthony Stankowitch
266Moriz Rosenthal
267Vicente Herbert
268Martin Roeder
269Felix Mottl
270Augusta Olbretröm
271Max Kunkel
272Dr F Zierfeld
273C F Chickerling
274Villiers Stanford
275Louis C Elson
276Anna Sibbick
277Mr and Mrs Alves
278Ritter-Götze
279Adele Lewing
280Frederic Shailer Evans
281Hugo Goerlitz
282Pauline Schöller-Haag
283Jens Reszké
284Marchen
285Laura Schirmer
286P S Gilmore
287Kathleen Paulsen White
288Rose Schonhofens
289Mrs Johnstone-Bishop
290Max Bruch
291L G Gottschalk
292Andrzej Kontski one of two readings
293Antonin Kontski one of two readings
294S B Mills
295E M Bowman
296Otto Bendix
297H W Sherwood
298Frieda Drake
299Victor Nessler
300Johanna Cohen
301Charles R Tretbar one of two readings
302Charles E Tretbar one of two readings
303James Dickerson
304E A MacLaren
305Theodore Reichmann
306Max Treuman
307A Cappa
308Hans Winkelmann
309Donzetti
310William W Gilchrist
311Ferrant
312Johannes Brahms
313Meierbeer
314Moritz Moszkowski
315Anna Louise Tanner
316Pietro Greco
317Wladimir
318Fannie Hirsch
319Michael Banner
320Dr S N Penfield
321F R Schubert
322Emil Mahr
323Otto Sutro
324Carl Faelsen
325Benedict
326G W Hunt
327Georges Bizet
328John A Brockhoven
329Edgar H Sherwood
330Graud Brouwer
331Anton Dvorák
332Saint-Saëns
333Pablo de Sarasate
334Jules Jordan
335Alfred R Parsons
336Mr & Mrs G Henschel
337Bertha Pierson
338Carlos Sobrino
339George M Nowell
340John Mason
341F X Arecu
342Anna Lankow
343Maud Powell
344Max Alvary
345Hoffmann
346Hände
347Carlotta F Pinner
348Marianne Brandt
349Hilary Denny
350Emil Bach
351Fritz Giese
352Anton Seidl
353Max Leckner
354Judith Graves
355Hermann Ebeling
356Anton Bruckner
357Marc Honegger
358Marie Claire
359Mr and Mrs Lawton
360Fritz Kreisler
361Virginia P Marwick
362Walter Burmeister
363W J Laver
364Niels W Gade
365Hermann Levi
366Edward Radfield
367James H Hager
368George H Chickerling
369John C Fillmore
370Helene C Livingston
371M. Nitzselski
372Grace Wicket
373Alfred Sormann
374Juan Luria
375Carl Busch
376Mr and Mrs Nikisch
377Dora Becker
378Jeanne Franko
379Frank Taft
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