Scan 11
Musical Courier 1893-12-27: Vol 27 Iss 720, 1893
175 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1through, and in all a new coin distinctness and solidity in every point pervaded the instrument, and the Bach technic was closed.
3Next was an improvisation. Turning to one of the boys, motioning him to the organ, Widor hummed the opening motive of the Beethoven andante in D minor. From that brick the pupil was to construct a château according to the highest known rules of musical construction. He might choose his own colors and devices in building, but the château form must stand out clear and distinct when finished. First he was made to give the analysis of the composition while pushing and pulling the few stops that were to be the color of his work. Widor aided him by a repetition of the last four notes of the motive, and again the first two, as at the word "Allez" the theme was taken up surely and steadily and marched along through changes of key, color and shape to the end.
5In this work there was no technic talk. Attention was concentrated on form and color. All were following instead of accompanying the player, except the master, who seemed to anticipate every move even the failures, more than once steering the player from the rock toward which he headed. In general he waited till the idea was expressed before making suggestion. He spoke of stop-change as "orchestration" always. He frequently called for opinion and suggestion from the students, paying particular attention to the "bristling German," who was evidently a new comer. A second pupil was made to improvise on the same theme with change of "orchestration" and did it well.
7He was a young man by the name of Vierne, who, almost wholly blind, is the leader of his class. (I will tell you later how Widor teaches him.) He last term took the second prize. Widor thought he ought to have had first, as the slight hesitation which lost him was a superficial one. He has a sensitive face, a noticeably long head from forehead back and small hands. He found his seat at the organ without assistance. His playing was "finer" than the other, more delicate and tranquil, the ideas, more original, the whole more "spirituelle." Widor seemed to listen more in pleasure and interest than criticism, dropping gentle words of praise through the piece.
9"Don't hide anything," he said. "Make your rests speak." "You must never forget your theme for orchestration. It must be constant preoccupation (by which he meant anticipation), not to neglect one for the other." "You can enjoy yourself making color through these," he said, through a simple movement. "A-a-a-h, now we come to our A major!" bending toward it as the organ stole through the relative chords. "Bene, bene!" For, strangely enough, Widor, when thoroughly pleased employs the Latin word for "good" or "well," instead of the stereotyped French "bien." By this it was that Miss Welles first knew she had gained his good will.
11Next came drill on the "Planchon," or church service, for which he left his chair for the organ bench close beside his pupil, the rest all gathered closely about the two, and there for some half hour he worked like a laboring man in a concentrated undertone, showing how to connect with chancel organ, how to improvise, how to play from figured bass, how to "build a 'Planchon.'" one of two readings
12Next came drill on the "Planchon," or church service, for which he left his chair for the organ bench close beside his pupil, the rest all gathered closely about the two, and there for some half hour he worked like a laboring man in a concentrated undertone, showing how to connect with chancel organ, how to improvise, how to play from figured bass, how to "build a Planchon." one of two readings
14After which Bach chorals.
16What dull, lumbering, monotonous, stone-breaking old times to the uninitiated. Never was more enthusiasm over Italian opera than among these students of construction. Work was commenced in Peters' edition, page 10, and continued through some five or six heavy, homely growls of sound, played remarkably well by a young Frenchman who also writes well. What a luxury of something they all seemed to find in these. The high cheek bones of a young Belgian, who did nothing but look on, became perfectly crimson with the tense attention. Every change of harmony, every jolt of the old coach of construction was reflected in the faces of the men, who seemed lost to all else. There was positive excitement over the introduction of a trumpet in one passage. Widor stirred and held by the truth and sincerity of his own enthusiasm, by an occasional word of pleasure or suggestion, a smile to some pupil, a picture of some phrase in pantomime. The blind man seemed to know them all by heart, for at the slightest hesitation he was ready to suggest stops, &c.
18Next a piece was chosen by a pupil who had trouble with color and a study in color was made of it, all joining with the master, who suggested without dictating. He called an old stone wall of sound "très gai," referring doubtless the construction, which certainly was rich. "Take three or four of those by heart," he interjected at the close as one might suggest the memorizing of four lines of poetry or a strain of opéra bouffe.
20The last was the study of a composition by one of the pupils, a pretty thing, grammatical and original, played a little nervously by himself, after which the blind one sat down and played the same with changed orchestration. There may not have been a luxury of carpet and curtains in the room. What a richness of talent and art development!
22What an application of composition and harmony rules What an advantage to musicians—to music!
24I wanted some force to come, seize Widor bodily, place him in a sack, carry him to a steamer (the only way he will ever be "coaxed" to leave Paris), bring him to New York, set him down in an elegant throne in front of an organ, and to have every New York organ player and student compelled by law to sit and listen to what he had to say and do. Such work as this and just such is what is needed there.
26Imagine how useless it would be for one to come here! All unprepared, unversed in the rudiments and technic of organ playing, and attempt to take on this artistic color, and how more than useless without a knowledge of the French language.
28How these boys live and study, their probable expenses here, &c., must be kept for a future letter.
30FANNIE EDGAR THOMAS.
32Nicode.—Mr. J. L. Nicodé has begun a series of orchestral concerts at Dresden with the Chemnitz Orchestra.
34Albert Becker.—The B minor mass of Albert Becker made a great impression when produced at Dresden by Castor Römhild.
36Chamber Music in Paris.—The Paris concerts of chamber music given by Mrs. I. Philipp Loeb, H. Berthelier, Balbreck and L. Carenbot were resumed December 20 at the Salle Erard.
38Ranckenecker.—A one act opera "Sanna," by Georg Ranckenecker, has been given with great success at Elberfeld. The score of this work, was returned unopened by the judges of the Gotha prize competition, a month or two ago.
40Ilona Eiberschuetz.—The young pianist Ilona Eiberschütz will commence an artistic tournée in England next month, appearing at the Crystal Palace and the Henschel Symphony concerts. She will close her series of performances in Paris in April.
42Paris "Grand Concerts."—The Paris "Société des Grande Concerts" has come to grief. There does not exist in Paris a public sufficiently fond of music to support four concerts a week. Mr. Derembourg will therefore change his "Éden" into a café concert.
44Italian Operas.—During November three new works were performed, "Messinella," by Brunetti, at Cagliassi, November 7; "Marcella," by Marzani, at Codogno, November 18, and "Vanden," by F. Clements, at Bologna, November 27. The last named encountered a killing frost.
46Chaudesaigues.—The "Ménestrel" announces the death of Mrs. Chaudesaigues, widow of the famous song writer and mother of Mrs. Miquel-Chaudesaigues, a well-known vocal teacher. The deceased was a distinguished teacher of piano in the times of Herz, Ravina, &c.
48"Faust" in Russia.—The "Journal de St. Petersburg" corrects some misstatements respecting "Faust." The work was played in Russian twenty-five years ago at the Imperial Theatre and had 254 representations. At present it is being given in the capital on three Russian stages, and there is not a city in the country that has a Russian theatre where it is not a favorite.
50Henri Hirschmann.—The official performance of "Ahasuerus," the cantata crowned by the French Academy of Fine Arts at the last Rossini competition, took place lately at the Conservatory of Paris. Mr. Hirschmann is a pupil of Massenet, and has ideas which he develops in the normal fashion. This score has force and strength as well as grace, sentiment and emotion. Mr. A. Pougin says that his début is an excellent one for any young composer.
52Announcement.
54Mme. ROSA LINDE,
55The American Contralto,
56Has just been engaged as Prima Donna for the first American Tour of
57HENRI MARTEAU.
58The French Violinist.
59Mme. Linde's own Concert Company may be secured for March and April, 1894, and also for season of 1894-95, by addressing
60R. E. JOHNSTON, Manager,
61BELVEDERE HOUSE, NEW YORK CITY.
62NOTE.—EDWIN M. SHONERT, the Eminent Pianist, will also be connected with Marteau's tour through America.
64NINE LOVE SONGS
65In the Character of Different Nations,
66COMPOSED BY
67VICTOR HOLLAENDER.
68Op. 65.
69English words by AUBER FORESTIER.
70Peters' Format, Price $2.00 Net.
711. POLAND. 4. FRANCE. 7. ENGLAND.
72CONTENTS: 2. RUSSIA. 5. SPAIN. 8. TURKEY.
733. LAPLAND. 6. ITALY. 9. GERMANY.
74Beautifully illustrated, fine engraving and most finished printing. A gem of publications, of musical merit and of unsurpassed artistic workmanship.
75A DESIRABLE GIFT FOR THE HOLIDAYS.
76WM. ROHLFING & SONS, Music Publishers, Dealers and Importers.
77MILWAUKEE, WIS.
78Catalogue of our publications sent free on application.
80Gotham Gossip
82WELL, how did Santa Claus treat you? Very generously? That's good. Nearly everybody says the same thing. Santa must be a republican and a firm believer in the McKinley bill and Bill McKinley. There are yet several counties to be heard from, but the following data are in the main correct:
84Walter Damrosch, a new orchestra, free from all Unmusical, Immutable, Unprotective Disunions.
86Dr. Antonin Dvorák, a package of brand new American folk song themes.
88Theodore Thomas, an illustrated volume of World's Fair music, with his picture as a frontispiece, and with the author's sincere regrets.
90Anton Seidl, a demijohn of American appreciation, a highly palatable cordial, to be taken in small doses.
92Italo Campanini, a new arytenoid cartilage.
94Andrew Carnegie, the prayer laid foundation stones of ten new music halls in various cities.
96John Jacob Astor, the earnest thanks of all true hearted American musicians for his generous aid to the Manuscript Society:
98Each ex-member of the Symphony Orchestra of New York, a daily free plate of hash and cup of coffee for the space of five months.
100Messrs. Abbey, Schoeffel & Grau, a monastery, a trash basket and an ancient.
102J. C. Duff, a first-class opera company.
104Reginald De Koven, the complete orchestral scores of half a dozen new comic operas.
106H. E. Krehbiel, a working musical library, bound in calf.
108W. J. Henderson, a motto, worked in beads and framed in gilt, in the following Shakespearean language: "O gentle lady, put me not to 't, for I am nothing if not critical."
110George Hoodwink Wilson, an annual World's Fair to conquer.
112Heinrich Zoellner, a generous amount of toll gatherings.
114Frank van der Stucken, a patchwork quilt.
116Dr. Carl E. Martin, a swallow or two—in a cage.
118Dr. Carl E. Dufft, a bottle of cologne.
120Miss Kate Percy Douglas, a box of dates.
122S. Fischer Miller, a $1,500 church choir salary.
124Grant Odell, a mustache.
126John D. Shaw, a new bass solo.
128Louis R. Dressler, the directorship of a New York church choir, with big pay.
130Frederic Dean, material for a prize lecture on the music of the spheres—not billiard balls.
132Gerrit Smith, a whole year, with twenty-seven hours to each day.
134Wm. C. Carl, a Guilmantian technic.
136George W. Ferguson, a gilt edged contract with a first-class grand opera company.
138Victor Harris, a consort.
140Purdon Robinson, a copy of the history of his ancestor, the late lamented Robinson Crusoe.
142C. A. Ellis, the palm for orchestral management.
144Philip Hale, the palm for witty correspondence.
146Morris Reno, more office room.
148Silas G. Pratt, the largest chorus ever heard in this or any other country.
150Emilio Agamonte, an accompaniment which he cannot play at sight.
152Charles B. Hawley, an idea for a new love song.
154James A. Metcalf, renewed health.
156Gerald Gerome, a light opera company, all his own.
158G. D. Wilson, a copy of Mark Twain's new book on another of the Wilson family.
160THE NEW YORK CONSERVATORY OF CATHOLIC CHURCH MUSIC. one of two readings
161THE NEW YORK CONSERVATORY one of two readings
162OF CATHOLIC CHURCH MUSIC. one of two readings
163Established under the patronage of
164THE MOST REV. ARCHBISHOP M. A. CORRIGAN D. D.
165Particulars may be had on application.
166REV. JOSEPH GRAF, Director,
167139 East 43d Street, New York.
169New York College of Music,
170128 and 130 EAST 58th STREET.
171ALEXANDER LAMBERT, Director.
172ALL BRANCHES OF MUSIC TAUGHT
173Faculty comprises the most eminent instructors.
174SEND FOR DESCRIPTIVE CATALOGUE.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.