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Musical Courier 1892-12-21: Vol 25 Iss 668, 1892
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1well as virtuoso. During this season so far John Kruse has taken De Ahna's place in the quartet. His playing is strong and vigorous. He has had some excellent pupils, to whom he has imparted the energy and verve peculiar to himself. As your readers are aware, the method as taught by Prof. Joachim and his assistants is noted for vigor and breadth. Their forte is Bach, Beethoven and the heavy classical composers. The opposite school is the French style of lightness, grace and brilliancy. To combine the two is to acquire perhaps the happy medium. Many students finish here and go to Paris for lightness and many educated in Paris come here for solidity. Each individual must study his own peculiar style and adopt from each method the ideas that will help him to excel. Joachim could never be Sarasate and Sarasate could never be a Joachim. The two greatest living violinists, so different yet both such delightful players! It is really surprising the number of young ladies studying the violin at all the conservatories. It is something more than a mere fashionable fad. All German masters, I believe, agree that the piano is the most difficult of all instruments, and after long years of study but few rise above mediocrity. The violin can be mastered by ladies, and the number of really good violinists now before the public prove that it is the instrument on which they can excel.
3Tschaikowsky's "Eugeny Onegin."
5FROM the London "Figaro" the following interesting account of Tschaikowsky's opera, "Eugeny Onegin," is taken:
7On Monday Mr. Lago's opera season started at the Olympic, a building which has undergone a considerable process of transformation in order to convert it into an opera house. The draughts which whistle across the stalls, it is true, have not yet been cured, and the rigid closing of doors at the back of the pit, or better still, the hanging of heavy curtains over them, is still necessary. Otherwise the house is extremely well suited to opera of a cheap description, particularly as the pit and gallery are unusually large. From the 2s. pit, indeed, a perfect view of the stage can be obtained from any one of the 1,200 seats which it boasts. Mr. Lago had some idea of opening last Saturday with that well worn opera, "Favorita," but wiser counsels prevailed and he postponed the inauguration of his enterprise until Monday, when he was able to produce his principal novelty, to wit, Mr. Sutherland Edwards' English version of Tschaikowsky's "Eugeny Onegin," for the first time in this country. Tschaikowsky, of course, is not a stranger to London audiences, for several of his chamber pieces have been heard here, and he has twice come to London to conduct his compositions at the Philharmonic concerts. He is now fifty-two years of age and is a typical Russian. Originally trained for the law, and appointed to a post in the Ministry of Justice, he, however, at the foundation of the St. Petersburg Conservatoire in 1862, quitted the legal profession for music. Anton Rubinstein was his teacher for composition, and for some years he was one of the leading professors at the Moscow Conservatoire. Thus far the man.
9"Eugeny Onegin" is founded upon a romance of Pushkin. The story is somewhat spun out, but it is undeniably interesting, and the dénouements of the various tableaux are frequently of a striking dramatic character. The opera is in three acts and seven scenes, the curtain being dropped after each tableau. There is no overture properly so called, but after a brief prelude, in which a theme afterward chiefly associated with the heroine is announced, the curtain rises upon the courtyard of a farmhouse in Russia. Here "Tatjana" and "Olga," the two daughters of the house, sing a lively duet, which, on the arrival of their mother, Miss Selma, and their old nurse, a part played by its original interpreter, Miss Swiatlowsky, merges into a quartet. It is "Tatjana's" birthday, and a chorus of peasants, armed with wheat sheaves, arrive to do her honor. A pretty dance is organized, the chorus joining in the measure, and here for almost the only occasion in the opera, so far as the voice parts are concerned, the influence of the Russian national style is strongly marked. "Olga," the younger sister, likewise has a quaint ditty and dance. Visitors are, however, approaching—to wit, "Olga's" betrothed, a young poet, "Lenski," and his friend "Eugeny Onegin"—the latter a blasé man of the world, who is almost a misanthrope. Dressed in the sugar loaf hat and quaint costumes of the early part of the present century, the well-known concert vocalist, Mr. Iver McKay—who we believe now made his stage début—and Mr. Oudin presented a somewhat novel appearance.
11A quartet, lightly accompanied, leads to "Lenski's" love song, a tenor solo more or less of the conventional or drawing room pattern, part of the melody of which we heard again shortly before his death. The scene then changes to "Tatjana's" room. The maiden has been struck by the courtly manners rather than by the manly beauty of "Onegin," and in a duet with her old nurse she discloses the secret of her infatuation. The duet, as sung by Mrs. Swiatlowsky and Mrs. Fanny Moody, created a strong impression. The principal portion of the scene is, however, devoted to the famous letter solo. Left alone for the night and bidden to repose, "Tatjana" spends the time in writing an epistle to "Onegin," confessing her affection. The soprano solo is an extremely long one, but it is well diversified, and at times becomes really passionate. Part of this scene will appear again in the scene where the hero is finally rejected. The orchestra here, too, plays a very important part, particularly as some of the Russian characteristics perhaps unwittingly appear, the constant use of a particular figure which is one of the characteristics of the Slavonic school being from time to time apparent. There is also at one point in an oboe solo a snatch of melody very similar to an old Scotch tune. The letter is not finished until daylight, when the old nurse appears, gently chiding her young pupil, but agreeing to deliver the epistle. Thence we pass again to the courtyard, where there is another chorus of maidens, followed by a scene in which "Onegin," in the course of a baritone air, gently reproves the young girl, and declares that he can love her only as a brother. The girl is necessarily heartbroken, and with this the act closes.
13In the second act we are introduced to a lively scene in the ample kitchen of a Russian farmhouse, where a large party of guests have assembled to do honor to "Tatjana" on her birthday. A curious assemblage they are, the dresses, doubtless true to life, being a mixture of the military and peasant elements. A vocal waltz is danced, and before it is ended "Eugeny's" attentions to "Olga" have already aroused the jealousy of young "Lenski." The dance is, however, interrupted by a comical song by the Frenchman, "Triquet," the music being a burlesque of the Bellini school, while the words are a series of florid compliments to the young lady whose birthday is being celebrated. This capital song was admirably sung by Mr. James Appleton. Immediately afterward the dance is resumed. It is now a genuine mazourka, and thus we are again amid the Russian element. The quarrel between the two men, however, grows fiercer, and "Lenski" deliberately insults his friend and challenges him to a duel. The finale is a regular ensemble of the traditional operatic pattern. The duel, after a tenor solo of farewell by "Lenski," introducing a snatch of his previous song, is fought; for, despite the fact that the two men are now cooler, and that each would like to meet the amicable advances of the other, neither is willing to be the first to move. They are accordingly placed back to back; they walk four paces, turn, and fire, "Lenski" immediately falling dead. This, indisputably, forms a very striking tableau, "Onegin" giving way to grief as the curtain is hurriedly lowered.
15Some years are supposed to elapse before the last act commences. "Onegin," shocked at his crime, has, in the meantime, left Russia. The scene opens in the ballroom of a nobleman's house in St. Petersburg. "Onegin," richly dressed, watches the dancers; and, doubtless recalling the tragic result of the ball in the farmhouse, he, in a fine baritone solo, again expresses his remorse. "Prince Gremin" and his wife, however, enter among the dancers, and "Onegin" is struck by the young girl's beauty. Curiously enough he fails to recognize her, and in a few agitated sentences he inquires of the prince who the lady may be, receiving a reply that it is "Tatjana," the prince's wife. The prince loves her dearly, and in a bass solo—melodious, but simple enough to have been signed by Balfe—he gives full expression to his feelings of affection for his spouse. Greatly moved, "Onegin" addresses the lady, but she, taking her husband's arm, moves off.
17The scene then changes to "Tatjana's" room, where the final interview between herself and "Onegin" takes place. "Onegin," in a fine baritone solo, introducing a snatch of the letter scene, now passionately avows his affection and urges her to elope with him. She, however, declares that her love for him is as strong as ever; but owing to his long absence, feeling that her love was hopeless, she had married "Prince Gremin." Now she will be faithful to her marital vows. With this, "Onegin," cursing the fate which has left him disconsolate, quits the room, and a few bars from the orchestra close the opera.
19A few lines only are necessary in praise of the translation, which is from the pen of Mr. and Mrs. Sutherland Edwards. Mr. Lago has this year secured a fully competent orchestra of nearly sixty players and a capital chorus, so that the defects discernible during his season at the Shaftesbury last autumn will this year not be repeated. The cast was undoubtedly a strong one. Even a small part like that of the mother, who appears only in the first act, was played by an artist like Miss Selma, while the rôle of the nurse, which is little better, had a capital exponent in Miss Swiatlowsky. Curiously enough, the rôles of the two sisters were played by the sisters Moody, while the stage husband of "Tatjana" was Mr. Charles Manners, who is married to Fannie Moody. Mr. McKay in appearance hardly realized the impetuous young lover, although he sang his music well. The chief success of the evening was, however, gained by Mr. Oudin. The rôle of the cynic suits this excellent actor to perfection, and alike in action, gesture and by play he thoroughly identified himself with the character, while a better singer Mr. Tschaikowsky himself would not have desired. The opera was staged under the direction of Mr. Paul Berton, while in Mr. Henry J. Wood Mr. Lago has found a conscientious and competent conductor.
21The Origin of Dixie.
23A WRITER in the New Orleans "Delta," in an issue of that paper published some years ago, gives, as below, his opinion of the origin of "Dixie:" "I do not wish to spoil a pretty illusion, but the real truth is that 'Dixie' is an indigenous Northern negro refrain, as common to the writer as the lamp post in New York city seventy-five years ago. It was one of the everyday allusions of boys at the time in all their outdoor sports. And no one ever heard of Dixie's land being other than Manhattan Island, when it has been erroneously supposed to refer to the South, from its connection with pathetic negro allegory. When slavery existed in New York one Dixy owned a large tract of land on Manhattan Island and a large number of slaves. The increase of the slaves and the increase of the abolition sentiment caused an emigration of the slaves to more thorough and secure slave sections, and the negroes who were thus sent off (many being born there) naturally looked back to their old homes, where they had lived in clover, with feelings of regret, as they could not imagine any place like Dixy's. Hence it became synonymous with an ideal locality, combining ease, comfort and material happiness of every description. In those days negro singing and minstrelsy were in their infancy, and any subject that could be wrought into a ballad was eagerly picked up. This was the case with 'Dixie.' It originated in New York and assumed the proportions of a song there. In its travels it has been enlarged and has 'gathered moss.' It has picked up a note here and there. A 'chorus' has been added to it, and from an indistinct 'chant' of two or three notes it has become an elaborate melody. But the fact that it is not a Southern song 'cannot be rubbed out.' The fallacy is so popular to the contrary that I have thus been at pains to state the real origin of it."
25A writer in the Charleston "Courier," under date of June 11, 1861, says "Dixie" is an old Northern negro air, and that the words refer to one Dix or Dixy, who had an estate on Manhattan Island, now New York city.
27Southern sentiment would indeed receive a severe shock if these two newspaper articles contained all that could be learned concerning the "Dixie" refrain. Fortunately, however, I have information from another source that will prove very soothing to Southern feelings after what has been given above. From a letter received from Gen. James Longstreet, of Gainesville, Ga., I present this extract:
29"Yours, referring to the origin of the Confederate song of 'Dixie,' is received and noted. Writing from memory, one cannot claim to stand closely by the records, hence I can only give recollections of the matter. It originated with the Southern boys at the Military Academy at West Point, and sprang from their admiration of a Northern man named Dixie, who took a noble stand upon the question of 'Southern rights.' He had moved South, and lived among us many years. The song came afterward."
31General Longstreet became a graduate of West Point in the year 1842. He is pre-eminently a man of reminiscences, and, as everyone knows, is especially regarded as authority upon all matters pertaining to the civil war or in any way associated with it. The information he has contributed in this instance will therefore be recognized as in the highest degree valuable.
33By General Longstreet's account the man Dixie is certainly placed in a very much more enviable light than he is by the correspondent of the New Orleans "Delta," who leads us to believe that upon the increase of the abolition sentiment the shrewd Dixie disposed of his slaves to unsuspecting Southerners, thus fortifying himself against the possible loss of property which might accrue from the agitation regarding slavery then prevailing at the North.
35The origin of the song "Dixie," as indicated by General Longstreet, makes it appear particularly fitting that this song should go forth to the world as the national air of the Confederacy.
37That certain sounds awaken certain emotions is true, even among the lower orders of the animal world. I once saw a pet mocking bird which was always aroused to frenzy by the sound of the tearing of a cloth and never failed to give, in return, a similarly discordant note, expressive of resentment.
39To Southern soldiers there was inspiration in every note of "Dixie." Songs like "Dixie," embodying the spirit of a nation, live forever in the hearts of its people.
41"Yankee Doodle," though hoary with the winters of more than 100 years, and though the name of its author has passed from the annals of history, still lives to remind us of the spirit of our Revolutionary fathers when they said to England: "We will have none of your tea if to obtain the luxury we must sacrifice our principles."
43It is related that on a public occasion, soon after the surrender of some of the Confederate troops, President Lincoln ordered a Northern band to play "Dixie." Upon hearing an expression of surprise at the selection of an air so intimately associated with the Southern cause, the President replied: "Have we not captured the song with the rebel troops?" Captured it may have been, but whenever sung it still proclaimed the patriotism of Southern heroes—heroes whose hearts glowed with the resolve to "live or die for Dixie."—Savannah "Morning News."
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