Scan 21
Musical Courier 1894-02-14: Vol 28 Iss 727, 1894
84 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 22. See the scan on archive.org.
1The Virgil-Zeckwer Controversy.
3In answer to The Musical Courier correspondents' request of Mr. Virgil for a further account of his controversy with Mr. Zeckwer, Mr. Virgil said: I placed the matter of the proposed public performance, which The Musical Courier published three weeks ago, in the shape that I did, feeling confident that Mr. Zeckwer would regard this a chance of a lifetime to prove the correctness of his ideas upon this question of the legato touch—if he really has any ideas upon the subject—and at the same time furnish him an opportunity such as he never had before of convincing the public of the superiority of his methods of teaching over those of the Practice Clavier method. I feel quite disappointed, for I thought surely I was conferring a great favor upon the gentleman, one which he would eagerly respond to. I had been taking to myself no little pride in the thought that I was following the divine injunction of actually "heaping coals of fire on my enemy's head."
5I see in the last number of The Musical Courier that numerous readers of your journal in different parts of the country are expressing great interest in the matter and that they are very anxious to have Mr. Zeckwer stand his ground. I think, as some of them intimate, if he backs down that this great teacher will himself prove a stumbling block in the way of progress in the noble art for which he has been dying by inches, if not by the yard, for the last quarter of a century.
7I am in daily receipt of communications from musicians from different parts of the country, the character of which I should be very pleased to have your readers know, but as they are not designed for the public eye I cannot with propriety make use of them. I can assure you they would prove interesting reading, particularly to Mr. Zeckwer. The teachers are eager for the truth. My sympathies are with them. They seem to think that Mr. Zeckwer has it in his power—for once at least—to help them to it. To quote the language of one lady who has communicated with me on the subject, after saying that she did not think Mr. Zeckwer would dare accept the challenge, gives as one reason for this opinion that "when at heart one is not so sure of his theories as his words imply, he is very apt to fight shy whenever an opportunity for a trying test comes. But as you say that your readers are anxious to hear more on this subject, and as there is much more to be said, I shall gladly furnish you with further information.
9I stated to you at the close of our last interview, you will doubtless remember, that Mr. Zeckwer refused point blank to answer the question I put to him once and again, whether Miss Geyer's touch was legato or not; therefore the members of the association present are still in the dark, I am sorry to say, as am I myself, as to whether Miss Geyer's playing, to which we had listened with so much satisfaction, really possessed the "Zeckwer legato" quality or not. It is possible that Mr. Bowman, though he answered so positively that it was legato—as Mr. Zeckwer has not handed down a decision—may feel by this time a little shaky in his own mind as to what legato really is. This is certainly a very unfortunate condition of things in the musical world. What the outcome will be it is difficult to foretell.
11My object in making the learned gentleman the very generous proposition I did, to give a public recital, was that we might learn from his own playing what a legato is. I did not publicly put the question as to the correctness of Miss Geyer's legato to him, but a couple of hours later I chanced to meet the gentleman at the hotel, and with an eye ever to business I put the same question to him that I had publicly put to Mr. Zeckwer. His answer, though rather evasive, was a long way ahead of no answer at all, so I took it thankfully for exactly what I thought it was worth: not as an answer to the question proposed, but as a theme for reflection.
13Said he, scornfully—though to all appearances in good faith—"That girl would play without any teaching," and passed on, assuming an air which seemed to say: "I guess I've put a damper on that fellow's ambition; I imagine he knows by this time about how much I think that wonderful machine and method of his have had to do with that girl's playing." I will admit that Mr. Warner's face at the time did not wear that forbidding expression of contempt which I had observed on Mr. Zeckwer's, for which I was more than thankful. With Mr. Warner the expression was one of sympathy mixed with a fair amount of smiling contempt. I say fair amount because it would be too much to expect of any man to turn squarely about and in the space of three short hours love that which he once hated and hate that which he once loved. Such a conversion would be almost equal to that of the noted Tarsus persecutor. You see, Mr. Warner had never, until the occasion in question, heard a player who had learned everything on the clavier; it was not thus with Mr. Zeckwer; he had heard the same kind of playing several times before, and of course had informed Mr. Warner how utterly vile it was. But they felt that they had a grave duty to perform; therefore must listen to the playing and risk the consequences. So, with a show of resignation akin to that exhibited by a patient who accepts a reserved seat expecting very soon to part with a tooth, they took their positions well to the front and side by side. How could Mr. Warner, after listening to that program, be expected to pull himself together at a moment's warning, as it were, and take in the true situation. Had he not once tried that machine and found it all wrong? Had not his now silent partner tried it a dozen times, and the last time found it worse than the first? And now that a girl, sixteen years old, and three years under such training—as boldly stated on the program—had acquired the skill to play in such a masterful manner, among other things op. 53, Beethoven; the Schumann romance in F sharp, "If I were a Bird," Henselt; the C sharp minor scherzo, Chopin, and all learned on a machine that is ruin to touch and death to tone. Surely a miracle had been wrought, and that was why he gave me the answer, "That girl would play without any teaching."
15(To be continued.)
17System Steno Phonetic.
19THE BOSTON CLASSES. one of two readings
20The Boston Classes. one of two readings
22THE Boston classes in the new and unequalled system for reading vocal music, but started this season under Mr. Fred. H. Butterfield in 180 Tremont street, are giving that gentleman the encouragement he looks for, and which, with twenty-five years back of him as an endorsement for success and excellence as a teacher in this important branch, certainly forecasts the ultimate goal he aims for, as he will adopt only the System Steno Phonetic in future as his especial branch of private class teaching. Many of Mr. Butterfield's pupils in the classes began with learning their notes. The old Solfeggio systems have no attraction for him after the best and fairest of trials that a man of his broad intelligence can give; he finds that they are just what the author of Steno Phonetics declares them to be "crutches"—no self reliance, no knowledge absolute of the intelligent study in reading music, which he says must and ought to come before the cultivation of that gift. Mr. Butterfield receives new pupils Saturdays from 10 until 1. The New York school is busy in the new location, 132 East Twenty-third street (Room 12), where the clever inventor of this remarkable little alphabet for Transposition receives and teaches pupils, who come anywhere from 20 to 50 miles for the half hour's class instruction. These classes are limited to four, and the terms are greatly reduced this season. But this ought not to be, because you learn to read in the "course absolute." one of two readings
23The Boston classes in the new and unequalled system for reading vocal music, but started this season under Mr. Fred. H. Butterfield in 180 Tremont street, are giving that gentleman the encouragement he looks for, and which, with twenty-five years back of him as an endorsement for success and excellence as a teacher in this important branch, certainly forecasts the ultimate goal he aims for, as he will adopt only the System Steno Phonetic in future as his especial branch of private class teaching. Many of Mr. Butterfield's pupils in the classes began with learning their notes. The old Solfeggio systems have no attraction for him after the best and fairest of trials that a man of his broad intelligence can give; he finds that they are just what the author of Steno Phonetics declares them to be "crutches"—no self reliance, no knowledge absolute of the intelligent study in reading music, which he says must and ought to come before the cultivation of that gift. Mr. Butterfield receives new pupils Saturdays from 10 until 1. The New York school is busy in the new location, 132 East Twenty-third street (Room 12), where the clever inventor of this remarkable little alphabet for Transposition receives and teaches pupils, who come anywhere from 20 to 50 miles for the half hour's class instruction. These classes are limited to four, and the terms are greatly reduced this season. But this ought not to be, because you learn to read in the "course absolute." one of two readings
25It's a Very Poor Part.
27BALTIMORE inquirer wishes to know if the part of "Col. Paul Lagrange" in "The Algerians" is a baritone or a tenor. We believe it was written for tenor, but Mr. Julius Steger, who sang the rôle here, has a high baritone. one of two readings
28A BALTIMORE inquirer wishes to know if the part of "Col. Paul Lagrange" in "The Algerians" is a baritone or a tenor. We believe it was written for tenor, but Mr. Julius Steger, who sang the rôle here, has a high baritone. one of two readings
30The Music of Nations.—The successful concert entitled The Music of Nations, and given under the direction of Carl V. Lachmund on February 5, drew out an audience of 2,000, completely filling Calvary Church, the largest auditorium in Harlem. A male chorus of fifty voices, under the direction of Frank Van der Stucken, sang a series of Folksongs of different nations, and the Swedish Women's Quartet gave Swedish and Scotch songs. Among the others who appeared were Miss Eleanor Mayo, soprano; Miss Florence Austin, violinist; Messrs. Ernst Bauer, violinist; Arthur Laser, violoncellist, and Carl V. Lachmund, pianist. Eighteen nationalities were represented musically. The entertainment was arranged for the benefit of the Harlem Y. W. C. A. by fifty prominent society ladies, among whom were Mrs. Thomas H. Newman, Mrs. Marshall Ayres, Mrs. George W. MacAdam, Mrs. J. J. Blodgett, Mrs. Isaac Mills, Mrs. Leander H. Crall, Mrs. Wm. Hills and others.
32From the "Recorder."—The Mancinelli loving cup farce at the Opera House the other night was neatly carried out, but it failed to arouse any enthusiasm. Mancinelli is a very fine individual conductor, but he can't hold a stick with Anton Seidl. I hear that Nahan Franko, who engineered the affair, has made himself solid with the Italian conductor and will probably be invited to London to play in the opera. But where do the orchestral players who had to subscribe $8 apiece come in? There was lots of grumbling among the brass and contrabasses. Sam Bernstein had the cholera when the tax was made, and an oboe player threw up his position. It strikes me that Seidl is more deserving of a demonstration of this sort than Mancinelli, who has only been with us a few months. Somebody started to get Seidl a cup several years ago, but the apathy and indifference of the orchestral players were insuperable barriers and so nothing came of it. They are, as a class, the most indifferent, ungrateful set of men in existence. But in Mancinelli's case a lively canvass was made and resulted in a cup and flowers, and smothered Teutonic curses afterward. Mein Gott! what beer was drunk, and what grumbling went on! Hein!
34Louisville Locals.
36LOUISVILLE, Ky., February 5, 1894. one of two readings
37Louisville, Ky., February 5, 1894. one of two readings
39THE old year closed and the new year opened with two of the best concerts local talent has given, and it is to Mr. William Frese we are indebted for these really enjoyable and artistic evenings. one of two readings
40The old year closed and the new year opened with two of the best concerts local talent has given, and it is to Mr. William Frese we are indebted for these really enjoyable and artistic evenings. one of two readings
42The first of these concerts was given December 22, to introduce Miss Flora Marguerite Bertelle, who, coming from New York to sing in Temple Adas Israel, has accepted position as vocal teacher in the Frese-Burck Music School.
44The program was as follows:
46Trio, op. 112, for piano, violin and violoncello ……………Raff
47Messrs. Wm. Frese, Henry Burck and Karl Schmidt.
48Sonata, op. 25, for piano and violoncello …………………Nicode
49Messrs. Wm. Frese and Karl Schmidt.
50Soprano solo, "Bel Raggio" (from "Semiramide") …….Rossini
51Miss Flora Marguerite Bertelle.
52String quartet, op. 17, No. 2 …………………………..Rubinstein
53Messrs. Henry Burck, John Surmann, Max Zoeller and Karl Schmidt.
54Violin solo, Polonaise, op. 21 ……………………………Wieniawski
55Mr. Henry Burck.
56Danse Macabre (for two pianos) ………………………..Saint-Saens
57Messrs. Rudolph and Wm. Frese.
58Soprano solo, valse from "Romeo and Juliet" ………….Gounod
59Miss Flora Marguerite Bertelle.
60Quintet in E minor, piano and strings …………………Sinding
61The Louisville Quintet Club.
63Miss Bertelle's singing shows an excellent school, most artistic colorature, and a mezzo of charming quality.
65The entire program was admirably given, no amateurish dawdling about tempo and personal "renderings" of scholarly compositions. Mr. Wm. Frese's piano accompaniments were thoroughly artistic, a soft undercurrent of tone that pervaded the ensemble blending the instrumentation without becoming prominent; it was all that an artistic begleitung should be.
67The andante of the Sinding Symphony was admirably played, and recalled to mind the words of "Sintram's Song," by La Motte-Fouqué, the Norse element of nobility, tenderness, passion and pain.
69The vivace movement was crisp, sunny, but cold, not the jocose merriment usual in scherzos, but wind in arpeggios and crystal sheen in legato of ice suggested the dazzling effects of Northland snows. May success attend the Louisville Quintet Club and the patrons thereof!
71As soprano to Temple Adas Israel, Miss Bertelle is an acquisition, for it renders that choir the best church quartet in Louisville. Mrs. Williams, the alto, has a fine natural contralto voice, which, free from false over-training, harmonizes well with the soprano and the rich "basso" of Lewis Williams. This gentleman's study under George Henschel, in London, the past year, has returned him to us a most acceptable "Elijah" and oratorio artist, with much "finish" as a concert singer. Mr. Williams has some notable elements of the true artist in him; he does not think he knows all there is to be known about music, and the letter "I" is not the chief word of his vocabulary.
73The concert which gave me a still higher estimate of the vocal proficiency of Louisville gentlemen was that of the male choir, also under the direction of Mr. Frese. The sixteen young gentlemen who compose it are all of musical temperament, and musically educated by our best local teachers. They are business men with little time to study music, but all have undoubted talent.
75This choir gave Prout's cantata, "Damon and Phintias." The leading solos were in good hands. Mr. Lewis Williams as "Phintias" was a revelation to his friends, who had not had opportunity to hear him since his return from Europe. Never has he sung with so much dramatic expression, never before has his voice shown such pure tone quality. He always had quantity of voice, he had too much, but Henschel, his London teacher, has given him control of it, and courage to sing as he felt he ought to sing. Not only has Mr. Williams natural vocal talent, but temperament, and now that he has the courage of his own opinion and good method of tone production he is doing good work. We hope that he may soon be heard in New York and Boston, where his singing will find the appreciation it deserves; he is a great favorite with the best musicians in Louisville. We are all justly proud of him.
77There are, as I have often said, admirable voices here, but the quality of tone they produce is not always good; they lack the correct tone production acquired and required by metropolitan vocal artists. Voice placing is an unknown art to them, and those who have attempted to explain it have been brutally ridiculed.
79The latest concert of local talent was that of Mary Louise Clary, a former resident of Louisville. Again Mr. Williams was the favorite soloist, although Miss Clary was the beneficiary.
81Six years ago, before she went to study in New York, her voice was a mezzo contralto of marvelous brilliancy and power, three octaves in extent. She had received good instruction from Mrs. Schuler-Jager, a very excellent local teacher, but choir singing and change of teachers probably used up a fine natural voice; certain it is, when she went to New York she was an example of vocal mismanagement. I see, however, she has become celebrated in newspapers, what in Louisville we call a "newspaper musician."
83I attended her concert on Thursday evening last by request of
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