Scan 21
Musical Courier 1893-12-27: Vol 27 Iss 720, 1893
81 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 22. See the scan on archive.org.
1Obituary.—Carl Kossmaly, director, composer and teacher at Stettin, aged eighty-two; W. Massmann, founder of the Pauline Church choir, Leipsic, November 29, aged ninety-one; Dr. Ed. Frank, teacher and composer, December 1, aged seventy-six; Karl von Sterneck, founder and president of the Mozarteum Salzburg, aged eighty.
3Receipts at Paris.—During the season August 1, 1892, to July 31, 1893, the receipts were: For Wagner's works, 69,664 francs; for Meyerbeer's, 12,397; for Rossini's, 2,345, and Verdi's 1,162 frs., all at the Grand Opéra Paris.
5Harthan.—Dr. H. Harthan, late teacher in the University of Dupot, will next year occupy the vacant directorship of the Lehrer Gesangverein, Dresden.
7A Distressed Manager.—The director of the theatre at Teplitz has sent a card to the newspapers stating: "The first performance here of Leoncavallo's 'Bajazzi' took place before an audience of 100 souls, who in their enthusiasm called out the performers fifteen times. In spite of this great success only forty-eight persons appeared at the second performance."
9Sonzogno.—The discussion about Cowen's "Signa" has induced Sonzogno to write to the London "Times" a letter, in which he states that he will open next year a grand Lyric theatre at Milan, which will be a real international academy, where he will produce works of composers of all nationalities.
11Lison Frandin.—In the railroad accident near Milan November 28 Mrs. Lison Frandin received severe injuries, which will prevent her from fulfilling her engagement at Warsaw. She lost at the same time all her jewels and dresses.
13An Ingenious Manager.—An Italian manager when he heard of Gounod's death and had no Gounod opera to produce issued the following notice:
15"HOMAGE TO GOUNOD.
16Positively the first performance of
17The One Act Opera
18"Djamileh"
19Words by M. Louis Gallet.
20Music by CHARLES GOUNOD."
22On the eventful night the enthusiasm of the inhabitants knew no bounds. "Djamileh" drew a splendid house, recalls were numerous, and at the end of the performance the curtain went up on a group of the whole company posed round a plaster bust of the deceased master—a truly touching sight. After three more successful performances of "Djamileh" the impresario made his preparations for departure, being due at another town. But, before he left, a puzzle-headed native came to see him and asked him point blank, "Surely Gounod never wrote 'Djamileh'?" "Well," replied the unabashed impresario, "now that I come to think of it, I'm not so sure that he did. But, anyhow, he wrote 'Medjé' and it's the most natural thing in the world to confuse the two titles—'Medjé,' 'Djamileh,' why, they're as like as two peas."
24"Genoveva."—Respecting the late performance of Schumann's "Genoveva" in London, the "Figaro" writes: "It would nevertheless be absurd to blame our opera managers for neglecting 'Genoveva,' which, as a stage work, presents so many incurable defects. The most important is an absurdly inadequate libretto. The legend of 'Genoveva' is popular in Germany, and thanks to the poems of Tieck and Müller, and the dramas of Raupach and Hebbel, it is thoroughly well known throughout the Fatherland. In its original form, the story is little more than a false accusation levelled against a virtuous wife, who is compelled to flee for her life to the forest of Ardennes, there giving birth to a son, who is suckled by a white doe. Hebbel's melodrama was, however, too brutal for Schumann, who endeavored in vain to persuade the author to alter it more in accordance with the dramatic poem of Tieck. Hebbel refused to do anything of the sort, and Schumann was accordingly obliged to undertake the work himself. Like many other musical critics of his period, he was an extremely indifferent librettist, while even his contemporaries were firmly of opinion that his music lacked dramatic force. Modern opera goers will probably consider it as more or less a symphonic work, although it is only fair to say that much of the music is of extreme beauty."
26"Euryanthe" and "Genoveva."—The family likeness between "Euryanthe" and "Genoveva" has often been pointed out. The two principal characters of "Golo" and the "Witch" in general outline also not a little resemble those of "Telramund" and "Ortrud" in "Lohengrin," although from a dramatic point of view Wagner certainly has the better of it. Offenbach, to whom neither potentate nor legend was sacred, wildly burlesqued the whole story in "Genèviève de Brabant." "Siegfried," by the way, is identical with "Elsa's" long lost brother, the little boy who comes up from the Scheldt as the swan goes down for the last time in "Lohengrin." one of two readings
27"Euryanthe" and "Genoveva."—The family likeness between "Euryanthe" and "Genoveva" has often been pointed out. The two principal characters of "Golo" and the "Witch" in general outline also not a little resemble those of "Télramund" and "Ortrud" in "Lohengrin," although from a dramatic point of view Wagner certainly has the better of it. Offenbach, to whom neither potentate nor legend was sacred, wildly burlesqued the whole story in "Genèviève de Brabant." "Siegfried," by the way, is identical with "Elsa's" long lost brother, the little boy who comes up from the Scheldt as the swan goes down for the last time in "Lohengrin." one of two readings
29Maurel.—Mr. Maurel is anxious to sing the title part in Massenet's opera "Werther." As the same was originally written for a tenor, the composer is making a new arrangement of the music to make it suitable for Mr. Maurel's baritone. The heroine's husband will be transformed from a baritone into a tenor.
31Brussels Concerts.—The Brussels Concerts populaires will, this season, be conducted by Messrs. J. Dupont, Hermann Levi (Munich), and Felix Weingartner (Berlin). At one of the six concerts Wagner's rarely heard Biblical scene, "The Love Feast of the Apostles," will be performed.
33Paderewski.—Mr. Paderewski has accepted an invitation to play a concerto and his own "Polish Fantasia" at the Lower Rhine Festival at Aix-la-Chapelle on May 15.
35Eugen Gura.—During the recent Wagner Cycle at the Munich Court Theatre, that splendid artist, Mr. Eugen Gura, sang the part of "Hans Sachs" in "Die Meistersinger" for the hundredth time. At the same theatre Verdi's eightieth birthday was celebrated with a performance of his "Trovatore."
37Another One!—The "Violin Times" is the title of a new monthly journal, the first number of which appeared on the 13th of last month. Its editors are Messrs. E. Polonski and Edward Heron-Allen. Two letters of Paganini's (one in facsimile); a translation of the "Arts and Crafts Book of the Worshipful Guild of Violin Makers of Markneukirchen, from 1677 to 1772"; and the first of a series of helps for violinists, by Mr. Wallace Sutcliffe, are prominent features.
39Schubert.—The Allgemeine Musik-Zeitung prints a hitherto unpublished letter of Franz Schubert which, although but short, is characteristic of his modesty and conscientiousness. It bears no date: "Most esteemed Herr v. Bärtel.—As I have really nothing for full orchestra which I could send forth into the world with a calm conscience, and there are in existence so many pieces by great masters—e. g., by Beethoven: Overture 'Prometheus,' 'Egmont,' 'Coriolan,' &c., &c., &c., I must most sincerely beg your pardon if I cannot be of service to you on this occasion. Forgive me, therefore, my too hasty and thoughtless promise.—Yours obediently, FRANZ SCHUBERT."
41Gounod and a Critic.—In Pagnerre's "Charles Gounod, sa Vie et ses Œuvres," it is stated that the "Funeral March of the Marionette" was written as a joke, and intended to imitate the walk of an English critic. The critic in question is supposed to be the late Mr. Davidson, of the London "Times," who was lame from his birth.
43Verdi and Crispi.—On the occasion of his eightieth birthday Verdi received the following telegram from Mr. Crispi, the ex-Premier of Italy: "Francesco Crispi rejoices with Giuseppe Verdi, and hopes that for the greater glory of Italian Art he will attain at least the age of the Maestro Galmini." To which Verdi replied: "It gives me great satisfaction to receive the good wishes of Francesco Crispi. I declare that I shall do everything possible to reach the age which he wishes me." The worthy referred to, an obscure Italian musician, died at the age of 185!
45Cologne.—The Society of the Cologne Gürzenich Concerts has issued its program for the winter 1893-94 of concerts to be given under the direction of Dr. Franz Wüllner. Among works to be produced are "Israel in Egypt," by Händel; "Cresus," C. A. Lorenz; the "Mattheus Passion" and "Johannis Passion," Bach; "Montfort," Rheinberger; choral works by Mozart, Schubert, Brahms, Ernst Heuser, symphonies by Beethoven (1, 6 and 7), Mozart (C minor), Haydn, Schumann (IV.), Schubert (H minor), Berlioz ("Harold"), Brahms (IV.), Justav Jensen, and overtures by Beethoven, Mozart, Weber, Schumann, Smetana and Rich. Strauss; "Fuga Solennis," by Puchat; "Zoroaida," by Svensden, and "Wanderung," by Scholz.
47He Lost His Specs.—The musical critic of the London "Times," writing of the first performance of Prof. Villiers Stanford's quartet at the Monday "Pops," observed that in the "Largo" wrong notes were to be heard, and that throughout the work the players fell short of perfection. This criticism called forth a letter to the "Times" from Mr. Piatti in which the cause of the "wrong notes" being played is shown. He says: "It is only right that I should add that I am the only person to be blamed for it, and that want of rehearsing, which would have been an unpardonable negligence, and not in accordance with the respect we all feel for the composer, was not the cause of those imperfections, as your musical critic (very likely out of kindness) inclines to think, but the unfortunate accident of having broken my spectacles a short time before the concert and the impossibility of finding at the moment a pair that would suit me. As to the imperfections throughout the work, I was so much occupied in trying to see my notes through the new spectacles that I am only aware of the unfortunate mistakes in the 'Largo.'"
49A New Trilogy.—Mr. William Wallace, whose symphonic poem, "The Passing of Beatrice," founded on Dante's "Inferno," met with a favorable reception at the Crystal Palace concerts last season, has just written a sacred drama, entitled "The Three Great Days." The work is in three parts, designated respectively "The Paschal Eve," "Pilate's Wife" and "The Resurrection."
51E. Moor.—Mr. Emmanuel Moor, whose concert overture was produced in London at Mr. Henschel's symphony concerts, and a symphony from whose pen was heard during the last summer season at St. James' Hall, is now engaged on a piano concerto, which will in due course be submitted to a public hearing. Mr. Moor was born in Hungary in 1863, but he is a naturalized Englishman, and has married an American lady. He has now been five years in England, where he intends to reside permanently, devoting himself entirely to musical composition.
53An Armenian Artist.—Mr. Vahram Sevadjian, the Armenian pianist, who lately "recited" at Princess Hall, was born in Constantinople of Armenian parents. While still a mere child he was taken to live in Venice; and it was in the city of the Doges that he began his musical education, and there, too, that he made his first public appearance—this was when he was twelve years old. A little later he determined to go to Vienna, where he continued his studies on the piano, passing through the three years' course with all possible honors. Mr. Sevadjian, who is quite a young man, is said to have made a successful début.
55The Erard Concert Hall in London.—The concert hall erected by Mr. D. Mayer in connection with Messrs. Erard's piano warehouse in Great Marlborough street is nearly finished and will probably be inaugurated during the season by Mr. Paderewski.
57A Musical "Puzzle Editor."—The "Lady's World" is now giving musical competitions. Short quotations from the best known composers appear weekly. Three times as many of their readers noticed a quotation from one of the "Songs Without Words" as recognized the closing bars of "Ho, everyone that thirsteth"—"Elijah."
59National Conservatory.—The semi-annual entrance examinations of the National Conservatory of Music will be held during the coming month. The arrangement is as follows: January 8 from 10 to 12 A. M. and 2 to 4 P. M. for violin, viola, contrabass, 'cello and harp; January 8 from 2 to 3 P. M. for orchestra and all wind instruments; January 9 from 10 to 12 A. M. and 2 to 4 P. M. for piano and organ; January 11 and 12 from 9 to 12 A. M. and 2 to 5 P. M. for singing; January 12 from 8 to 10 P. M. for chorus, and January 13 from 9 to 12 A. M. and 2 to 5 P. M. for composition (Dr. Dvorák's class).
61"Semiramide" Withdrawn.—On account of Mrs. Melba's temporary indisposition from a cold, the promised revival of "Semiramide" at the Metropolitan Opera House this evening has been postponed. Its place will be taken by "Don Giovanni," with the following cast: Fursch-Madi, "Donna Anna;" Nordica, "Donna Elvira;" Sigrid Arnoldson, "Zerlina;" Lassalle, "Don Giovanni," and Ed. de Reszké, "Leporello."
63The Messiah.—The Oratorio Society, with the assistance of the Symphony Orchestra, and under the direction of Mr. Walter Damrosch, will present "The Messiah" at Music Hall on Friday afternoon and Saturday evening of this week. The soloists will be Lillian Nordica, Miss Carlotta Desvignes, Mr. J. H. McKinley, and Mr. David Bispham.
65A BUSINESS OPPORTUNITY.
66We desire to sell our entire established Piano and Organ business of fifteen years' standing, good will, stock and fixtures. Our books will show that we have done a very large and profitable business. Good reasons given for selling. The finest sheet music and office fixtures in the South.
67Address WALTER D. MOSES & CO., Richmond, Va
69The National Conservatory of Music of America,
70126 & 128 East 17th St., New York.
71ANTONIN DVORAK, Director.
73THE SEMI-ANNUAL ENTRANCE EXAMINATIONS
74WILL TAKE PLACE AS FOLLOWS:
75VIOLIN, VIOLA, CONTRABASS, 'CELLO HARP.—Jan. 8, from 10 to 12 A. M., and from 2 to 4 P. M.
76ORCHESTRA AND ALL WIND INSTRUMENTS.—Jan. 8, from 2 to 4 P. M.
77PIANO AND ORGAN.—Jan. 9, from 10 to 12 A. M., 2 to 4 P. M.
78SINGING.—Jan. 11 and 12, from 9 to 12 A. M., 2 to 5 P. M., and on the evening of the 12th.
79CHORUS, from 8 to 10 P. M.
80COMPOSITION (Dr. Dvorak's Class).—Jan. 13, from 9 to 12 A. M., and 2 to 5 P. M.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.