Scan 6
Musical Courier 1893-01-04: Vol 26 Iss 670, 1893
163 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 7. See the scan on archive.org.
1The Musical Courier.
2PUBLISHED EVERY WEDNESDAY
3—BY THE—
4MUSICAL COURIER COMPANY,
5(INCORPORATED)
619 Union Square W., New York.
7ESTABLISHED JANUARY, 1880.
8No. 670.
10EDITORS:
11MARC A. BLUMENBERG. OTTO FLOERSHEIM. one of two readings
12MARC A. BLUMENBERG. OTTO FLOERSHEIM. one of two readings
13JAMES G. HUNEKER. HARRY O. BROWN. one of two readings
14JAMES G. HUNEKER. HARRY O. BROWN. one of two readings
16BUSINESS DEPARTMENT:
17SPENCER T. DRIGGS. R. S. MAXWELL. one of two readings
18SPENCER T. DRIGGS. R. S. MAXWELL. one of two readings
19A. T. KING. FRANK M. STEVENS. one of two readings
20A. T. KING. FRANK M. STEVENS. one of two readings
22WESTERN OFFICE: Chicago, 226 Wabash Ave., JOHN E. HALL, Manager. one of two readings
23WESTERN OFFICE: Chicago, 226 Wabash Ave., John E. Hall, Manager. one of two readings
24BOSTON OFFICE: 32 West St.
25BERLIN, GERMANY: PHILIPP ROTH, 84a Lützow St.
26LEIPSIC, GERMANY: GERBÖDER HUG, Königstrasse 16.
27LONDON AND PARIS: BRENTANO'S.
29Subscription (including postage) invariably in advance.
30Yearly, $4.00; Foreign, $5.00; Single Copies, Ten Cents.
32RATES FOR ADVERTISING.
33PER INCH.
34Three Months………….$20.00 | Nine Months………….$60.00
35Six Months……………..40.00 | Twelve Months………….80.00 one of two readings
36Six Months……………..40.00 | Twelve Months…………80.00 one of two readings
37Special rates for preferred positions.
38Advertisements for the current week must be handed in by 5 P. M. on Monday.
39All remittances for subscriptions or advertising must be made by check draft, or money orders, payable to the MUSICAL COURIER COMPANY.
41American News Company, New York, General Distributing Agents.
42Western News Company, Chicago, Western Distributing Agents.
44NEW YORK, WEDNESDAY, JANUARY 4, 1893.
461893.
48WITH this issue of THE MUSICAL COURIER begins its fourteen year of existence. Without wishing to trumpet forth our fame over the roof tops of the world, as the good old gray poet, Walt Whitman, would have said, we nevertheless cannot refrain from one prolonged blast. That we are the only musical journal worthy of that name on the globe is a fact that is acknowledged by even our most envious contemporaries. The modesty of this boast can be further enhanced by a reference to our books in which the green eyed monsters may, if they so desire, discover that our subscription list and business done during the past year were doubly as large as all of our alleged contemporaries bunched together—both sides of the Atlantic Ocean included. THE MUSICAL COURIER will continue to wage war against fraud and combat for the noblest in music, as it has heretofore done and therein lies its strength. It will without fear or favor denounce humbug and extol merit as valiantly in the future as it has in the past.
50IN RE LESCHETIZKY.
52IN our last issue we printed a letter from the well-known Boston pianist Mr. George Manning Nowell, in which he took exception to the charges made by certain persons in these columns against the methods of Theodor Leschetizky, the Vienna piano teacher. Mr. Nowell wishes to know if there have been any specific personal charges made against Mr. Leschetizky. The following letter from the composer, Ernest Lent, of Washington, a well-known musician in that city, bears the stamp of sincerity, if we mistake not. At all events, in justice to everybody, it must be published. Here it is:
541824 CORCORAN STREET.
55WASHINGTON, D. C., December 28, 1892.
57In reply to your letter, I will state firstly, something about the regard in which Leschetizky holds the Americans. When Miss Bailey, a highly talented pupil of the Leipsic Conservatory and of Car, Reinecke, discovered that after a year's study with Leschetizky her style and touch were alarmingly deteriorating she called on him and informed him that she was compelled to discontinue her studies with him. He grew furious, shook his fist in her face and roared out, "All Americans are damned fools and may go to hell!" The majority of people who know him declare him to be a "crazy man," which seems to be the only extenuation of his frequent outbursts of violence, such as suddenly shutting down the lid of the piano on a pupil's hands and thus disabling them for three months.
59To give you an idea of the method of touch invented and practiced by Leschetizky, I will try to describe the first exercise. The first joints of the fingers of the left hand are placed vertically on the extreme edge of the keys A, C, D, F, G. The intervening keys B and E are pulled up above the ordinary level of the keyboard and paper pads are inserted between finger and side edges of the keys to prevent friction and irritation of the skin (blisters are, however, unavoidable). Then the knuckles are forced up to the highest possible level (the four knuckles in a straight line), but the wrist is lowered to the level of the keyboard. The whole hand is to be kept very rigid, so as to make the split in the knuckles plainly visible; wrist and arm are loose if possible. Each finger has now slowly to raise its key without being lifted from it, and after striking to press it down with all force. The stretch of the hand is gradually increased to the seventh chord with double octave and to the chord of the ninth. Later Czerny's studies, which are considered all important, are practiced in the same manner.
61If after some weeks' practice of four to seven hours a day (no other practice besides these exercises being allowed) the hand begins to tremble it is considered a very good sign of growing muscular strength. If the arms begin to swell and sprains ensue, which is the usual result, the advice is given to "steam the hands" and rest for a day or two.
63Leschetizky employs a number of assistant teachers. Pupils of all grades are accepted and given to one of the assistants, who grinds them for a period of two to nine months through the mill of this method. Then they are passed over to the originator of the system, who believes implicitly in what the assistant may have to say about the pupil.
65I leave it to your own experienced judgment whether an elastic and sympathetic, not to say emotional tone, may be gained from this method. Alfred Grünfeld and Moritz Rosenthal declare it a perfect humbug. The latter says it may develop muscle, but it never will make piano players. Arthur Nikisch, conductor of the Boston Symphony Orchestra, said he was surprised that Leschetizky in his old days had come to "such nonsense."
67My wife took twenty lessons, but on arriving at the period of swollen arms and sprained hands wisely decided not to try any further, though she received a letter from the assistant begging her to take only one more lesson, after which everything would be adjusted to her satisfaction. Your Vienna correspondent, Mr. Rudolf Krug, stated to her that he was fully convinced of the affair being a fraud. He had prepared a long list of facts, but was unwilling to publish them as long as he was in Vienna, as it would make things unpleasant for him there. In fact, the circles concerned in Vienna seem to be in mortal fear of giving word to the smoldering dissatisfaction everybody distrusts everybody. Pupils after prolonged study feel they are retrograding. When they return to their homes they do not dare to say anything against the acknowledged great man, or rather do not want to confess that their studies have been a failure. Therefore great is Leschetizky and we are his prophets! The name is all the majority are caring for at any rate.
69Mrs. Lent writes me that she has arrived in Berlin and will shortly call at THE MUSICAL COURIER office of that city to make personally any statement that may be desired.
71It is the general opinion that Essipoff and Paderewski are the founders of Leschetizky's fame, not vice versa. But their success only proves that a genius will rise superior to and throw off harmful influences, when an ordinary talent will succumb.
73Always at your service. I am yours very truly,
74ERNEST LENT.
76Under date of December 27 Mr. Lent sends us a second letter, as follows:
78Last week's MUSICAL COURIER only reached me this morning, after I had mailed my letter of yesterday. But I find that the letter pretty well covers every point raised. I only want to emphasize that I stated facts, and had no intention of being personal. Therefore those pupils of his who refuse to be failures may class themselves among the geniuses who throw off all harmful influence. Certain it is that neither Paderewski nor Bloomfield-Zeisler is now using the position of hands as taught by Leschetizky.
80There must be some fire in all this smoke. We would not be surprised if Mr. Lent's letter should call forth some indignant answers; but as he has the courage of his convictions and seems to be willing to produce evidence, we will certainly give him a hearing.
82If Leschetizky is a humbug he must be exposed; at all events THE MUSICAL COURIER proposes to get at the bottom of this scandal.
84RAVOGLI-MAYER.
86THE following cablegram speaks in no uncertain tones:
88LONDON, December 29, 1892.
89Editors Musical Courier:
90Daniel Mayer's statement that I apologized to Melba is untrue.
91(Signed) GIULIA RAVOGLI.
93This counter-denial of Miss Ravogli, who, it may be remembered, was last season one of the principal contralti of Messrs. Abbey, Schoeffel & Grau's operatic company, is called forth by the following paragraph which appeared in THE MUSICAL COURIER November 30, with the caption "Daniel Mayer Denies:"
95The cablegram which first appeared in the New York "Herald" and afterward in THE MUSICAL COURIER of November 16, to the effect that Giulia Ravogli, indignant at Melba receiving some floral tributes, refused to sing with her, has been declared untrue. The following cablegram from Manager Daniel Mayer explains the Matter:
97LONDON, November 28.
98Editors Musical Courier:
99The Melba paragraph which appeared in the New York "Herald" an absolute untruth. Melba refused to sing with Giulia Ravogli, instead of vice versa. Ravogli apologized to Melba in my presence in the artists' room at Brighton.
100(Signed) DANIEL MAYER.
102It is now Mr. Daniel Mayer's turn, and as he is in this city his answer will not be long forthcoming.
104PADEREWSKI DATES.
106THE following are the dates of the Paderewski tournée 1892-3 to March 16, 1893, under the management of Mr. Chas. F. Tretbar:
108Date. Cities. Date. Cities. one of two readings
109Date. Cities. Date. Cities. one of two readings
110January 2………….New York February 4………….Toronto one of two readings
111January 2. New York February 4. Toronto one of two readings
112" 4………….Boston " 7………….Buffalo one of two readings
113" 4. Boston " 7. Buffalo one of two readings
114" 5………….New Haven " 8………….Geneva one of two readings
115" 5. New Haven " 8. Geneva one of two readings
116" 7………….New York " 10………….Providence one of two readings
117" 7. New York " 10. Providence one of two readings
118" 9………….Rochester " 11………….Boston one of two readings
119" 9. Rochester " 11. Boston one of two readings
120" 10………….Albany " 17………….Brooklyn one of two readings
121" 10. Albany " 17. Brooklyn one of two readings
122" 11………….Hartford " 18………….New York one of two readings
123" 11. Hartford " 18. New York one of two readings
124" 13………….Boston " 20………….Syracuse one of two readings
125" 12. Boston " 20. Syracuse one of two readings
126" 14………….New York " 22………….Cleveland one of two readings
127" 14. New York " 22. Cleveland one of two readings
128" 16………….Buffalo " 24………….Chicago one of two readings
129" 16. Buffalo " 24. Chicago one of two readings
130" 19………….Philadelphia " 25………….Chicago one of two readings
131" 19. Philadelphia" 25. Chicago one of two readings
132" 20………….Brooklyn " 27………….Detroit one of two readings
133" 20. Brooklyn " 27. Detroit one of two readings
134" 21………….Boston March 2………….Chicago one of two readings
135" 21. Boston March 2. Chicago one of two readings
136" 23………….Portland " 4………….Chicago one of two readings
137" 23. Portland " 4. Chicago one of two readings
138" 24………….Boston " 6………….Cleveland one of two readings
139" 24. Portland " 6. Cleveland one of two readings
140" 27………….Boston " 10………….New York one of two readings
141" 27. Boston " 10. New York one of two readings
142" 28………….Boston " 11………….New York one of two readings
143" 28. Boston " 11. New York one of two readings
144February 1………….Montreal " 13………….Baltimore one of two readings
145February 1. Montreal " 13. Baltimore one of two readings
146" 3………….Toronto " 14………….Washington one of two readings
147" 3. Toronto " 14. Washington one of two readings
148" 6………….Philadelphia one of two readings
149" 3. Toronto " 16. Philadelphia one of two readings
151MAX SPICKER'S DEFENSE.
153WHEN the charges of plagiarism were formulated against Mr. Max Spicker in THE MUSICAL COURIER he was urged to defend himself, and a rather rambling, incoherent defense he made. Mr. Spicker knew that these columns were open to him at any time he desired. He preferred, however, to take another course and a very unwise one it has been. In the pages of a poor, pitiful music journal, an occasional monthly, which has all the vitality of a galvanized corpse, Mr. Spicker allows the editor to make a defense for him. It is with pity one reads this thrice foolish story, and if it did not contain specific charges against a member of the staff of this journal we would have dropped the matter into oblivion. But the scandal has now attained some dimensions and it must be answered. First, Mr. Spicker's defense made by his scabrous, unsavory advocate (a gentleman with the unpronounceable name, who expectorates as he speaks) is by means of the deadly parallel column. A few bars of Mueller-Berghaus' arrangement of Chopin's A flat polonaise are given and contrasted with Mr. Spicker's to show the dissimilarity. As a matter of fact the examples given as a proof of Mr. Spicker's innocence do not tally with the manuscript score which we have seen. The following characteristic sentence occurs at this point:
155Mr. Spicker does not deny at all having used the same in order to improve and advance rapidly in a difficult job, which, by the way, had to be done in a hurry; and it was therefore necessary to seek all possible helps. With all that, Mr. Spicker has reorchestrated over 150 bars and underlaid the Berghaus score in passages that, as musicians know, could not be altogether changed; but even in such instances alterations are frequently visible. The following cuts will speak for themselves.
157Alas! the cuts do speak, and they nail Mr. Spicker's defense as a lie. Another thing: Mr. Spicker did deny having ever seen the Mueller-Berghaus arrangement until his own was finished. It is certainly true beyond peradventure of a doubt that he did use the Mueller-Berghaus score. As regards the pilfering of the Groschel song, which was charged against Mr. Spicker first by the music editor of "Town Topics," Mr. Spicker weaves this remarkable romance:
159The copying of op. 1 (Groschel) is the second accusation, and is not only unjust, but malicious at the same time. This point can only be properly explained by a little story. In the year 1882, when Mr. Spicker was music director in Hamburg (Altona), a Hungarian tenor in his company by the name of Tikari came to him and asked him to write down a melody which he would like to sing as "Einlage" in "The Postillion," in place of the well-worn "Good Night," by Abt. Mr. Spicker tried to accommodate him, and marked down the melody, to which he afterward wrote an excellent accompaniment. The tenor did not know the composer, neither did Mr. Spicker. After the performance, the song having been very successful, old Mr. Fritz Schubert, with whom Mr. Spicker was well acquainted, asked him for the song, and Mr. Spicker narrated the story of this transcription, but to his surprise Mr. Schubert published the song on his own account; believing it only modestly on the part of Spicker when he objected to having his name used as the author. It was not long before Mr. Schubert received a note from the original publisher, stating that the melody was by Groschel. This, remember, happened in Hamburg, before Mr. Spicker arrived here. It was afterward that Mr. Ed. Schubert reprinted from the German publication the "corpus delicti," which has raised such a storm of abuse against Mr. Spicker. Mr. F. Schubert, of Hamburg, laboring under a misunderstanding, but with a most commendable object in view, thus placed Mr. Spicker in a very peculiar position. one of two readings
160The copying of op. 1 (Groschel) is the second accusation, and is not only unjust, but malicious at the same time. This point can only be properly explained by a little story. In the year 1882, when Mr. Spicker was music director in Hamburg (Altona), a Hungarian tenor in his company by the name of Tikari came to him and asked him to write down a melody which he would like to sing as "Einlage" in "The Postillion," in place of the well-known "Good Night," by Abt. Mr. Spicker tried to accommodate him, and marked down the melody, to which he afterward wrote an excellent accompaniment. The tenor did not know the composer, neither did Mr. Spicker. After the performance, the song having been very successful, old Mr. Fritz Schubert, with whom Mr. Spicker was well acquainted, asked him for the song, and Mr. Spicker narrated the story of this transcription, but to his surprise Mr. Schubert published the song on his own account; believing it only modestly on the part of Spicker when he objected to having his name used as the author. It was not long before Mr. Schubert received a note from the original publisher, stating that the melody was by Groschel. This, remember, happened in Hamburg, before Mr. Spicker arrived here. It was afterward that Mr. Ed. Schubert reprinted from the German publication the "corpus delicti," which has raised such a storm of abuse against Mr. Spicker. Mr. F. Schubert, of Hamburg, laboring under a misunderstanding, but with a most commendable object in view, thus placed Mr. Spicker in a very peculiar position. one of two readings
162It is at this late day—twelve years after—although Mr. Ed. Schubert knew the history of the piece and the misunderstanding connected with it, that Mr. Meier, who succeeded Mr. Schubert as owner of the firm of Ed. Schubert & Co., takes the course of denouncing Mr. Spicker. Mr. Spicker has not been a customer of Ed. Schubert & Co. since he took charge of his Brooklyn conservatory; he considers it but just to make his purchases in the city from which he draws his clientele. If a man wants to be mean he can twist this story in such a way as to make things look bad for Mr. Spicker, but when we have an artist before us with such thorough ability as Mr. Spicker we do not find it right to libel him in consequence of unfortunate coincidences merely. Since Mr. Schubert (Ed. Schubert & Co.) reprinted the German publication Mr. Spicker has been engaged by
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