Scan 14
Musical Courier 1893-01-04: Vol 26 Iss 670, 1893
157 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 15. See the scan on archive.org.
1gratifying applause by a large audience which patronizes these concerts and which must be considered the musically representative public of Berlin.
3* * *
5At the next Philharmonic Concert, on January 8, Theresa d'Albert-Carreño will be the soloist, and she will perform her present husband's new piano concerto, which d'Albert himself recently played at Bremen and Brunswick with considerable success.
7The concert is announced as to be conducted by Hans von Bülow, but whether or not he can conduct is a question of the future. At present he is confined to his house at Hamburg and the Philharmonic Concert which took place there last night was presumably conducted by Mahler. The erratic Hans is suffering with pain in his head, and his idiosyncrasies, which are numerous, give his friends great anxiety. Manager Hermann Wolff, who went to see him last week, tells me, however, that the physicians say that he is not at present any crazier than usual and that there is no cause for alarm. However, Bülow refuses to eat in company and his food is served to him in his study, and when he is not otherwise occupied he keeps up an interesting correspondence with a girl in a newspaper kiosk near the Potsdamer bridge. She showed me a photograph of herself which she is going to send to him for a Christmas present, but she would not let me see the inscription on the back, or one of her correspondent's letters. She seems an intelligent but very ordinary and neither pretty nor educated sort of a girl. She prizes von Bülow's friendship however very highly and speaks of her platonic admiration for him with great freedom.
9* * *
11Last week the papers contained accounts from Vienna anent the serious illness of von Suppè, but now it is learned that the popular composer of "Fatinitza" and "Boccaccio" is quietly recovering and will soon be in his usual good health. Let us hope so.
13* * *
15The "Reichsanzeiger," the official Government organ, contained an item last week that no active military musicians, either singly or in a band, will be permitted to visit the Chicago exhibition. The "Reichsanzeiger" makes this announcement to contradict news which had been disseminated in the daily papers through the Reuter Telegraph Bureau to the effect that the inspector of the Prussian military bands was chosing from all German military bands musicians in order to form two corps intended for the Chicago exhibition.
17The Wolff Concert Agency, who has this matter in hand and to whom I applied for information regarding this official dementi, replies as follows: "The German Ethnographical Exhibition, which, as is well known, has a separate exhibition within the Chicago World's Exhibition, has given a portion of its space for the erection of a concert garden. The concerts that are to be given in this are to be under the management of the Wolff Concert Bureau, which, for that purpose, will send one of its representatives to Chicago. It was originally their plan to engage two active military bands, one from the infantry and one from the cavalry, but for this His Majesty's consent was not granted. The Wolff bureau then proceeded to form two bands, and for that purpose they engaged two well-known former bandmasters—Messrs. E. Ruscheweyk and G. Herold. They chose from former military band musicians, of whom about 1,200 applied, and who had to play for probation in Berlin at the Philharmonie. They are to receive 300 marks (about $72) monthly and all expenses paid. Each solo will be paid extra. The organizing of these two bands has been put into the hands of Inspector General Rossberg, of the German military music. The uniforms have been ordered, with a few slight alterations, according to Prussian models—for the infantry uniform that of the Queen Elizabeth regiment, and for the cavalry that of the Garde du Corps."
19* * *
21Siegfried Wagner has gone to Vienna to be one of the witnesses to Felix Mottl's marriage. He is also to arrange for the performance of "Parsifal," which the Vienna Court Opera is said to be intending to give in 1893 after the author's rights have ceased to affect Austria, viz.: ten years from the date of Wagner's death, i.e., February 18, 1883.
23* * *
25Theodore Reichmann, the handsome baritone, is reported to be gaining laurels and ducats in Russia. The news will interest many of his American friends.
27* * *
29Pauline L'Allemand, also of the defunct National Opera and later on of the Casino, has recently sung with success at the Altenburg Court Opera House, and the old duke Ernest was so delighted with her "Rosine" in the "Barber" that he decorated her with the golden medal and crown for art and science. The lady will not return to the United States this season, but will be heard "as guest" at various German opera houses.
31O. F.
33A New Mass.—A new mass for two voices, choir and orchestra, by the well-known religious composer, G. Rota, was lately produced at Trieste and made a profound impression.
35Sunday Music.
37AT the Lenox Lyceum last Sunday night this was the program:
39"Marche Rakocy"……………………………Berlioz
40Overture, "Les Francs Juges"………………Bach-Gounod one of two readings
41Overture, "Les Francs Juges"…………………Bach-Gounod one of two readings
42Ave Maria………………………………………Smetana
43Violin, Mr. Clifford Schmidt. Harp, Mr. John Cheshire.
44Miss Emma Juch.
45Symphonic poem, "Vishegrad"………………..Smetana one of two readings
46Symphonic poem, "Vishegrad"…………………..Smetana one of two readings
47(First time in America.)
48"Kol Nidrei" (first time)……………………..Max Bruch one of two readings
49"Kol Nidrei" (first time)……………………….Max Bruch one of two readings
50Mr. Joseph Hollman and orchestra.
51Andante from fifth symphony…………………Beethoven one of two readings
52Andante from fifth symphony……………………Beethoven one of two readings
53Scherzo from "Midsummernight's Dream"……..Mendelssohn one of two readings
54Scherzo from "Midsummernight's Dream"………….Mendelssohn one of two readings
55"Night in Lisbon"…………………………..Saint-Saëns one of two readings
56"Night in Lisbon"……………………………..Saint-Saëns one of two readings
57"Dance of the Sylphs"………………………..Berlioz one of two readings
58"Dance of the Sylphs"…………………………..Berlioz one of two readings
59"Loin du Bal"…………………………………Gillet one of two readings
60"Loin du Bal"………………………………….Gillet one of two readings
61Scene and aria, "Freischutz"…………………Weber one of two readings
62Scene and aria, "Freischutz"……………………Weber one of two readings
63Miss Emma Juch.
64Violoncello solos—
65Aria (arranged by Joseph Hollman)………….Schumann one of two readings
66Aria (arranged by Joseph Hollman)………………Schumann one of two readings
67Menuet…………………………………………Paderewski-Hollman one of two readings
68Menuet…………………………………………..Paderewski-Hollman one of two readings
69Mr. Joseph Hollman.
70Grand polonaise……………………………….Liszt one of two readings
71Grand polonaise…………………………………Liszt one of two readings
72The novelty was the "Vishegrad" symphonic poem, from Smetana's "Fatherland" suite. Last season Mr. Seidl gave a number from this suite. Possibly as a whole it would create a better impression, but the "Vishegrad" smells a bit of the lamp, though its martial opening and well worked out finale entitle it to some consideration. Hollman of course had a success. Miss Juch was also recalled. At the Music Hall a heterogeneous program was given under Walter Damrosch. Here it is:
73Marche Militaire……………………………….Schubert one of two readings
74Marche Militaire………………………………..Schubert one of two readings
75Intermezzo, from "Nadia"……………………..Delibes one of two readings
76Intermezzo, from "Nadia"………………………..Delibes one of two readings
77Concerto No. I, for violin with orchestra……..Godard one of two readings
78Concerto No. I, for violin with orchestra………….Godard one of two readings
79Johannes Wolff.
80Quartet, "Rigoletto"………………………….Verdi one of two readings
81Quartet, "Rigoletto"…………………………….Verdi one of two readings
82Miss Maconda, Miss Stein, Mr. Towne, Mr. Fischer.
83Hungarian Rhapsody, No. I……………………Liszt one of two readings
84Hungarian Rhapsody, No. I………………………..Liszt one of two readings
85"Bohemian Girl"……………………………….Balfe one of two readings
86"Bohemian Girl"…………………………………Balfe one of two readings
87"I dreamt that I dwelt in marble halls,"……..Miss Carlotta Maconda one of two readings
88"I dreamt that I dwelt in marble halls,"………….Miss Carlotta Maconda one of two readings
89"Bliss forever past,"…………………….Miss Gertrude May Stein one of two readings
90"Bliss forever past,"………………..Miss Gertrude May Stein one of two readings
91"From the valleys,"………………………….Miss Maconda, Miss Stein, Mr. Towne, Mr. Fischer one of two readings
92"From the valleys,"……………………………Miss Maconda, Miss Stein, Mr. Towne, Mr. Fischer one of two readings
93"The heart bowed down"…………………….Emil Fischer one of two readings
94"The heart bowed down"………………………..Emil Fischer one of two readings
95(Oboe obligato by A. Trepe.)
96"Then you'll remember me"…………………E. C. Towne one of two readings
97"Then you'll remember me"……………………..E. C. Towne one of two readings
98"Tho' ev'ry hope be fled,"…………………Miss Maconda, Miss Stein, Mr. Towne, Mr. Bologna, Mr. Fischer. one of two readings
99"Tho' ev'ry hope be fled,"……………………..Miss Maconda, Miss Stein, Mr. Towne, Mr. Bologna, Mr. Fischer. one of two readings
100"When the fair land of Poland"………………E. C. Towne one of two readings
101"When the fair land of Poland"…………………..E. C. Towne one of two readings
102Sextet from "Lucia di Lammermoor"………….Donizetti one of two readings
103Sextet from "Lucia di Lammermoor"………………Donizetti one of two readings
104Miss Maconda, Miss Stein, Mr. Towne, Mr. Bologna, Mr. Fischer, Mr. Stephens.
106Music in Boston.
108BOSTON, January 1, 1893.
110THERE is no need of rummaging the cupboard of antiquity. The thirst of singers and musicians was recognized centuries before certain gentlemen of Florence met at the house of Giovanni Bardi and invented the opera. The saying, "Cantores amant humores," was unchallenged by Roman moralist, monk, troubadour, or mastersinger. The good burghers who attended the feast given by Grangousier cried out: "Let us sing, let us drink and tune up our roundelay!" The Frontin of Molière ordered 100 bottles of Surène, for there were eight musicians and nine singers in the party. In Regnard's "Sérénade," opera singers are described as "wretched acquaintances; they take you into the tavern and you always pay the bill."
112* * *
114Listen to the wisdom of the ancients.
115"It is the key of the cellar that tunes the voice."
116"A raging thirst does not make a man sing alto."
117"The cock crows best when his throat is wet."
118"He drinks like a flute player." The variations are endless: "Bellringer," "trombone player," &c. But there was a tradition that flute players were specially endowed by nature with thirst; just as it was long believed that oboe players always went mad.
119"To drink like a musician."
120"A young man with a good voice was asked to join a parish choir. 'No, no,' he answered, 'I am already too much disposed to drink.'"
121"When the bagpipe is full it sounds the best."
122"After drinking, you wish to sing; after singing, you wish to drink. He that does not love song and the bottle is a hideous monster without tongue and ears."
123"Gute pfeiffer, brave säufer."
124To "intone" or "sing a mass" was a euphemism for "soaking."
125"Vivere musicè" was the same thing as to live clothed in fine linen, and faring "sumbustuously" every day. But the times have changed, since Plautus wrote; and he borrowed his expression from the Greeks.
126Glarean, theologian, musician and poet laureate, the author of the "Dodekachordon" and the friend of Erasmus, admitted that he lived like a court musician. "I eat and drink well and I owe everybody."
127Hearken unto the advice of Annibal Gantez to a young musician of the seventeenth century who purposed a concert tour. It is advice worthy of Polonius: "Drink sometimes with your comrades; for as you catch fish with a hook, so you can gain a musician's friendship with a full glass. * * * Beware, however, of acquiring the reputation that many singers enjoy, subjects to wine: although one may say that all musicians are drunkards, remember that all drunkards are not therefore musicians."
129* * *
131And so, whether it be Paristot himself, "Menestrel le Roy" in the fourteenth century, or the Rev. Arthur Bedford in the eighteenth, or Stephen Gossen in the sixteenth, the opinion expressed is the same: pipers and other musicians, players and singers, are too often "peevish cattle, that live by merry begging, maintained by alms, and privily encroach upon every man's purse."
133* * *
135In view of these attacks on a long-suffering class, of which he was an honored member, what wonder that learned Georges Kastner in his "Parémiologie Musicale" defends his colleagues in terms of eloquent indignation. one of two readings
136In view of these attacks on a long-suffering class, of which he was an honored member, what wonder that learned Georges Kastner in his "Parémologie Musicale" defends his colleagues in terms of eloquent indignation. one of two readings
138* * *
140And yet the memory of certain scapegraces of the past is dear to even the temperate student of musical history. Of course the conduct of Joséphine Mainville-Foder was worthy of all commendation, for she drank freely of milk, and when during the siege of Hamburg there was no cow in town, a sortie was improvised and a cow was captured. To keep the animal from hungry mouths it was hoisted by stage machinery into a loft, where it was cared for tenderly. At the same time what a glorious career was that of Desmatins, who in her time sang many parts, from Venus to Iphigenia, and died when the eighteenth century was a child. In her younger days she was a scullion, but when she shone as an operatic star of the first magnitude she was served at table by domestics on their knees. Eating and drinking fattened her. She then took vinegar and lost her voice. Her flesh gained steadily, and she sought the aid of an heroic cathartic. A surgeon cut her open and removed nine pounds of fat. To describe the singular use to which this superfluous flesh was put might shock the sensitive. It is sufficient to say that Desmatins surpassed the fancy of Atreus at the famous banquet.
142Then there was the imperial beauty with the siren-like voice, La Péliessier, whose excesses were so outrageous that even Castil-Blaze hid his face at the very thought. She never ate peas when they were below 60 frs. a plate.
144It was the custom of French operatic managers of the seventeenth and eighteenth centuries to give to their singers strong doses of black coffee so that the different mythological characters might dilate with the proper and the expected emotions. It is said that Dumenil, who was Atys, Phaethon or Amadis, rose to sublime heights by drinking six bottles of champagne during a performance. An abject thing in private life, beaten soundly by Mlle. de Maupin who, in male attire, took from him watch and snuff box, he always appeared in the fifth act as a glorified demi-god of song. Worthy companions of Dumenil were Thevenard and Morelli.
146Then there was Marie Laguerre, another estimable person, who worked so zealously in the vineyard of Noah that she turned "Iphigénie en Tauride" into "Iphigénie en Champagne." For setting a bad example she was imprisoned, and after her release she confined herself to thirteen glasses of champagne at dinner. Virtue is its own reward. It is true that she died at the age of twenty-eight, but she left 800,000 frs. in cash, 40,000 a year in investments, two houses and much jewelry.
148The great Garcia gargled his throat with Tintilla di Rosa; he played "Almaviva" and "Don Giovanni" in realistic fashion, and one night as a drunken "Othello" he nearly strangled his daughter Maria, the "Desdemona." She contented herself with sardines dipped in madeira. She also drank half-and-half.
150Or go back and read the biographical notes of appalling frankness concerning the singers in Brussels during the season 1705-1706, published in "Le Théâtre de la Monnaie," that monumental work by Jacques Isnardon. Is it possible that such people were able to sing when they appeared on the stage.
152The Cinti-Damoreau mixed her drinks. They were coffee fortified with rum, malaga-pale ale in the last act. She was abstemious, however. So was Dorus-Gras, who lived chiefly on mutton and beans. The Stoltz ate hugely of macaroni. Messrs. Neukomm and d'Estrée claim in a recent number of the "Ménestrel" that Patti, as a young girl, was passionately addicted to champagne, and that on one occasion she boxed Ole Bull's ears because he would not act as "Ganymede." But let us not come too near our own time.
154* * *
156These are only a few noteworthy names in the black list. Although time and space protest, let us not pass over the deeds of Don Emanuel Barbella, violinist and composer, whom J. G. Naumann met in Naples. Here is the chronicle of Meissner, whose account is a singular contrast to the dry bones offered by Fétis: "Not before his sixtieth year did this man have a dwelling of his own. He lived, worked and slept in the rooms of his acquaintances or in public squares. Adventures that he did not attempt to
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