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Musical Courier 1893-06-21: Vol 26 Iss 694, 1893
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1Clinton McClarty and Wm. Reinecke. The general nature of the business of the concern will be to establish and maintain a college for instruction in music, the fine arts, languages, literature and kindred branches of learning. The amount of the capital stock is never to exceed $100,000, divided into shares of $100 each.—Louisville "Courier-Journal."
3At Winsted.—A very successful concert was given at Winsted, Conn., last Wednesday. Mrs. E. Humphrey-Allen, Miss E. L. Woodruff, Miss F. G. Woodruff, Chas. N. Allen and H. A. Norris taking part. A pleasant feature of the affair was the success of Miss Edna L. Woodruff, a talented violin pupil of Mr. Allen's. A local paper gives the following comment:
5Her execution was marvelous, and gave eloquent testimony to her diligent application and conscientious work at the conservatory. The most difficult runs and seemingly inextricable passages were brought out with a technique that would have done credit to the masters. Her tutor, Mr. Charles N. Allen, was present, and contributed most valuably to the excellence of the entertainment.
7A Testimonial to Mr. Fleck.—The ladies of the Haarlem Philharmonic Society yesterday afternoon made a presentation to Henry Thomas Fleck, the conductor of the society, at his residence, No. 231 West 123d street. The gifts were a watch and chain and purse. Accompanying them also was a letter from the Rev. Samuel H. Virgin, in which he gives Mr. Fleck unstinted praise as a public benefactor, complimenting him on his social and musical triumph in giving to Harlem an organization which has been the pride and pleasure of its most cultivated citizens. The inside cover of the watch bore the following inscription: "Presented to Henry Thomas Fleck, founder and conductor of the Haarlem Philharmonic Society, by friends in the Society."—Herald."
9A Musical.—A very enjoyable musical was given by Mrs. Elizabeth Putnam Moore, at the Casino, Summit, N. J., Monday of last week, at which Mr. Michael Banner, violinist; Miss Sarah Humbert, contralto, and Mr. Russell King Miller, pianist, were the soloists.
11The Liederkranz Fest.—The summer night festival of the Liederkranz Society was held at Washington Park last Saturday evening, when the members and their friends had a most enjoyable time. The promenade music was furnished by F. Lieboldt, while Lander furnished the music for dancing.
13Mrs. Formes Is Indignant.—San Francisco, May 19.—Editor of the "Herald:" To my great surprise and indignation I read something in the columns of your paper which is entirely false. It is an article about a Mrs. Fabbri, of Los Angeles, in which she states the falsehood that my beloved husband died in poverty and assisted by her. Thank God, my husband had all he wanted in abundance. He had every comfort while living, and a funeral such as befitting him, for which, as well as for our splendid vault at Holy Cross Roman Catholic Cemetery, I have paid. I can well see that this person, Mrs. Fabbri, has asserted these things with the intention of hurting my feelings, which, however, such as she cannot succeed in doing. I hardly knew this person, although she lived very near to our house. After my husband's death she called upon me, pretended great sympathy, and stated that she and all the musicians of this city wished to erect a monument over our vault in honor of my husband. To this compliment I acceded. A concert was given as a testimonial. What it realized I do not know nor care. I had all the money I needed to put up a monument, but permitted it to be done out of agreeableness to the wishes of many people. The monument is a bust of cement, which really disfigures my handsome vault, and as I objected to having an inscription put on its pedestal, such as this Mrs. Fabbri wanted, she at once vented her spite against me in several city papers. But that did not matter at all to me. Our grave and vault are mine, paid by my money. For this I have many witnesses.—Mrs. KARL FORMES.
15—Chicago "Herald," May 26, 1893.
17Tricks in all Trades.—It is always edifying to learn the tricks of a trade, and there is a good example of the subterfuges to which a theatrical manager is sometimes obliged to resort in Schurmann's "Traveling Stars." "Does a singer," he says, "refuse to sing because she has had a little tiff with her husband, or with the manager, or with her dressmaker? A telegram is speedily dispatched to a trusty emissary asking him to telegraph back word that all the nobility of the place are expecting the diva at the station with presents of flowers, and that a torchlight procession in her honor has been arranged. Of course the diva goes, and is gracious in her demeanor to the nobility, who have been engaged at so much a head for the occasion." Mr. Schurmann is high authority on such matters, and speaks ex cathedra, for he was long a leading impresario, and had the distinction of introducing Patti, Bernhardt, Coquelin and other stage celebrities to many European countries.—"World."
19VOCALIST WANTS POSITION.—A contralto, cultivated voice, well-known New York church and concert singer, desires a position in a concert company. Address T. T., care of THE MUSICAL COURIER, 19 Union square.
21Music in Boston.
22June 18, 1893.
24THERE was consternation last week in Boston. There was talk in the streets and in the clubs. There were scareheads in the newspapers, and the phrases "critical situation," "musical famine," "immediate action," were employed freely. Letters were addressed by the anxious to editors. And all this pother was about Music Hall.
26For it appears that our Music Hall is doomed. If the method of rapid transit that was adopted recently by the Legislature is approved by the citizens, Music Hall will be demolished.
28They that set sentiment above comfort and ventilation deplore the probable destruction.
30The hall was built in 1852. Its proportions, "carefully studied for acoustic effect," are as follows: 130 feet in length, 78 in width and 65 in height. There are seats for about 2,600. The hall was originally owned in joint stock, held largely by a few subscribers. The inauguration was November 20, 1852, and these musical societies took part: The Händel and Haydn, the Musical Education Society, the Musical Fund Orchestra, the Germania Serenade Band, and Kreissmann's Liedertafel. Albioni assisted, and the famous contralto sang music associated with sopranos, as "Casta Diva." She also sang a canzone from "La Fille du Régiment," "Non più mesta," and in a trio from "Il Barbiere," with Sangiovanni and Rovere. Choruses were given from "The Messiah," "The Mount of Olives," and "St. Paul." The instrumental numbers were the overtures "Magic Flute," "Oberon," and the andante from the fifth symphony. The next evening Rossini's "Stabat Mater" was given, and the solo singers were Henriette Sontag, Caroline Lehmann, Badiali, Pozzolini and Rocco. Carl Bergmann led the violins.
32Mr. John S. Dwight, the enthusiastic chronicler of the Händel and Haydn, speaks of Sontag's delivery of "I know that my Redeemer liveth" (for there were other numbers besides the Stabat Mater), but it was reserved for W. G. Armstrong in his "Record of the Opera in Philadelphia" to note the fact in 1853 that Sontag took kindly to tobacco, and "now will smoke a whole cigar at a time." Armstrong adds that Badiali's voice was improved by smoking; "Pozzolini also says that since he smokes his voice is better."
34Music Hall was ornamented with a cast of Apollo; busts were given by Charlotte Cushman, and the bronze statue of Beethoven by Crawford was presented by Charles C. Perkins.
36In 1863 the great organ built by Walcker & Son, of Ludwigsburg, was put in. It was sold to a friend of the New England Conservatory in '83, and to quote Mr. Dwight, "to this day the pipes and all the works and costly frame of the great organ lie packed away in a rough wooden shanty in the corner of a burying ground. It cost originally $60,000; it was sold for $5,000."
38The organ now in use is wholly miserable.
40Music Hall has been the home of entertainments not strictly musical. Theodore Parker preached here during the last years of his active life. The hall was the seat of Adirondack Murray's "Metropolitan Church." Then there is a long list of fairs, balls, cat shows, walking matches, wrestling bouts and all manner of amusements, real or alleged.
42The existence of the hall has been threatened often; in '81 a controlling share in the ownership of the property was purchased in the interest of its retention as at present.
44I am told that one of the chief stockholders, if not the largest, is Mr. Henry L. Higginson, the inventor and the supporter of the Boston Symphony Orchestra.
46The proposed destruction of Music Hall is indeed a serious matter to Mr. Higginson. The existence of the Symphony Orchestra is threatened, unless action is taken at once. Mr. Higginson, in an interview published in the Boston "Herald," speaks as follows concerning the points of musical interest:
48This matter is important with me, for I have to make my arrangements for the orchestra for the next five years, and in the next few days. You have got to get far away from the railways, from the ringing of bells and from the sound of steam whistles. A man came to me two or three years ago with a plan for a music hall, but it was too noisy for me.
50You know it has taken a good deal of work and a good deal of money to get the orchestra together. We have not had so large an orchestra gathered before, nor has anybody else. There is no such orchestra merely for concert purposes in the world. They use orchestras in operas, and they play them in concerts, but ours is altogether devoted to concerts. In Vienna, Berlin, Paris and London all the great orchestras are used for opera purposes and for concerts, while ours is for concerts alone. I should be very sorry to see it go. I have spent a great deal of time and strength on it, and a great deal of money, and if the orchestra once goes apart I don't know how we can get it together again.
52I cannot engage the players unless I know I have a place. It won't do to wait a year, because I have to make my engagements for five years.
54Every fellow has got to give a lift, or it won't be done. These gentlemen haven't got to put any money in now. The money would not have to be paid at once—not for some months, in fact. I think the people will do more if it is made perfectly clear that it will be only a few days before I shall have to throw up the sponge. I cannot keep people waiting. To-day I got a cable from Europe asking what I had to say. I don't yet know what I have to say. I have to take these men out of places where they are well placed. I want to know something tangible. If that place goes down, we want another place to go into.
56I am going to have a very good conductor. Of course the best men get high wages and that is the reason it costs so much. The expenses go on increasing from year to year.
58We have $70,000 or $80,000 assured. It seems to me that the concerts are my share, after all. It has been a great risk and a great responsibility, as everybody knows. I think there is risk about it. I don't want to carry the load. I have all I can do anyway. There are enough other gentlemen interested in the plan to help it along.
60The building lot that is proposed by many, and apparently favored by Mr. Higginson, is at the corner of Huntington avenue and Westchester Park, and it is situated centrally, as far as Greater Boston is concerned, although to the dwellers on Beacon Hill it no doubt seems an Ultima Thule.
62Mr. Higginson thinks that the land of the proposed site would cost $100,000 and the building might be erected for $300,000. He does not see why the same building could not be used for an opera house and concert hall.
64Mayor Matthews does not wish to see "our grand symphony concerts discontinued for want of an adequate hall," but he prefers the Public Library property on Boylston street, although the land would cost from $35 to $40 a square foot.
66Ex-Governor Ames thinks the best location would be a corner on Commonwealth avenue and Westchester Park, "the corner diagonally from where I live." He also approves of the corner of Dartmouth and Boylston streets, opposite the New Old South Church.
68The ex-Governor, whose "baronial mansion" reminded Mr. Causten Browne of the "Age of Shovelry," does not believe that any music hall would pay as a business operation. In answer to the question whether he would give personal assistance he replied as follows:
70"I don't know. It depends altogether how a fellow feels at the time. Sometimes you feel as poor as a crow; at other times you feel pretty well off. At this time I do not think a subscription would succeed, because everybody feels a little distressed by the trouble in the market."
72Mr. T. Dennis Boardman believes in the Boylston street location; a correspondent of the "Transcript" recommends the site on Tremont street where the "Cyclorama" building now stands. Real estate agents and owners of property that needs booming are ready with suggestions.
74What will come of it all?
76Meanwhile subscriptions are taken, but times are hard, and earnest appeals must be made if the orchestra is to be assured of regular employment this next season and the seasons that follow.
78Do you know whether any of Cabener's music was ever published? Did Cabener exist and haunt the "Nouvelle Athènes," or was he merely seen and heard by George Moore in a dream? In all his privation and poverty the musician wore a silken shirt. His music, according to Moore, was extraordinary; "music that might be considered by Wagner as a little too advanced, but which Liszt would not fail to understand." It was Cabener who set with unbroken melody Villon's ballade, "But where are the snows of yester-year?"
80It was also Cabener who, when they were discussing how silence might be rendered in music exclaimed, "To portray silence by music I should need three military bands."
82I wonder whether Cabener agreed with Mallarmé in his admiration for the barrel organ! Mallarmé's praise is in
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