Scan 15
Musical Courier 1894-06-20: Vol 28 Iss 745, 1894
91 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 16. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1pushing their superior merit to the front, of taking the bushel off the light of their inventions and fabrications, and showing up the product of their splendid toil for the surprise as well as enlightenment of the other worlds.
3Thanks only to their tremendous merits that their art has done even as much as it has for the nations outside. More artist than merchant, a maker sits in front of his finished organ or clarionet as a lover before his mistress, dwelling on its perfections, dreading separation. In their shops they work like hermits toward perfection, not toward wealth. They put their hands in their pockets to buy better wood, a sounder metal, a more conscientious workman. Content with the results of the slow percolation of merit's record, advertisement is a sealed book to them. They remain poor artists, not millionaires.
5England needs instinct, Russia liberality, Scandinavia money (dear musical Oscar does what he can), Ireland stability and emotional control, Spain schools, Australia a pneumatic tube, a phonograph and telescope, to bring her within our circle (she is most excellent musical material), Asia a bath, and India an ice box.
7The world needs liberality and an international copyright law.
9* * *
11Two prettier or more fitting links of event between our "Organ Loft Whisperings" and "Musical Progress" could not have been found than those recently forged by Fate in the thousandth performance of one of the chief works of M. Ambroise Thomas, the director of the Paris Conservatoire, which is the hotbed of nineteenth century musical progress, and the election of the distinguished organist M. Th. Dubois to fill the chair left vacant by the immortal Gounod in the Academie des Beaux Arts, of Paris.
13Never, perhaps, has the election of anyone to any position given more sincere and universal satisfaction than the latter.
15As man, as citizen, as teacher, as composer, as organist, Th. Dubois, honest as the sunlight, free of intrigue and self assertion, modest, industrious, filled with musical genius and the good sense to utilize it, a man loving his fellows and rendering them service, a faithful, domestic home lover, a staunch friend and adviser, Th. Dubois reigns in the hearts of people as few men are privileged to do in lifetime.
17So much has been written of him from time to time in THE MUSICAL COURIER that little remains to be said beyond the fact of his election. His opponent, M. Joncières, being a powerful writer in addition to his musical gifts, the large majority by which M. Dubois was invited to this great honor is all the more wonderful tribute to his intrinsic worth.
19The works, vocal and instrumental, of the organist are numerous. His talent is serious, his education solid and thorough.
21Born in the provinces, coming to Paris for study, he carried off one by one all the prizes and honors of the Conservatoire. From being maître de chapelle at La Madeleine, he became successor of Saint-Saëns at the grand orgue, where he is recognized as one of the master organists of the world. Teacher of the largest class in composition in the Conservatoire, confrère of the master, Massenet, the pupils of the two French musicians annually compete for the Prix de Rome.
23His "Cantate de l'Institute" was said to be one of the best ever listened to. "The Seven Words of Christ" is one of the most beautiful of his sacred works, full of tenderness and sympathy, a model of the religious art, of which he is master. Masses, songs, piano pieces and concert overtures flowed from his pen before the presentation of his "Guzla de l'Emir" at the Athénée, now reproduced at the Opéra Comique. His drame oratorio, "Paradis Perdu," won for him the Prix de la ville de Paris, and is noted for its grace of idea and harmony and perfection of musical construction. The ballet "La Farandole" was played with marked success in 1883, and is, I believe, to be reproduced at the Opéra. A grand opera, "Aben Hamet," was played at the Italian Theatre.
25As has been written in an earlier letter M. Dubois is at work on a second grand opera, and interest naturally is on the qui vive as to its character. Much is to be hoped from it to further enrich the reputation of the new academician.
27A list of his works in detail was published in THE MUSICAL COURIER of December 20, 1883. one of two readings
28A list of his works in detail was published in THE MUSICAL COURIER of December 20, 1893. one of two readings
30FANNIE EDGAR THOMAS.
31PARIS.
33"II Trovatore."—"Il Trovatore," the literary, artistic and musical journal, which is published in Milan, is out of sorts with some of its subscribers, and has opened a column superscribed (so "L'Europe Artiste" says) "Permanent Announcement. "To those that are bad pay, or do not pay at all." It goes on saying: "The following persons are invited to settle their bills to the administration of the 'Il Trovatore':"
35"Aristodimo Sillich, Warsaw, 42.35 lire for subscription from 1890 to 1894.
36"Emma Cisterna, Turin, 10 years' subscription, 413.90 lire, and an account for reproducing a notice, 12.50 lire.
37"Linda Brambilla, subscription, 348.50 lire; puff, 206.50 lire," &c.
39The Casino Club.
41SINCE the acquirement of the lease of the Casino the applications for membership to the Casino Club have very materially increased, and now numbers nearly six hundred. The following gentlemen have been selected as an "advisory committee" for the first year:
43H. Holbrook Curtis, Carroll Beckwith, Henry E. Abbey, Samuel Untermyer, Wm. M. Chase, Jacob A. Cantor, Chester Lord, T. E. Sloane, Francis H. Kimball, Charles H. Steinway, W. J. Swan, Howard Paul, Paulding Farnham, John D. Archbold, James H. Breslin, Henry Gilsey, Jno. A. Cockerill, Thomas L. Hamilton, George H. McLean, Henry Seligman, A. M. Palmer, Gerrit Smith, E. N. Dickerson, Frank Ehret, Herbert Kelcey, Edward Lauterbach, John W. Keller.
45The Messrs. Rudolph and Albert Aaronson contemplate giving once a week private smoking concerts (on the order of the Amateur Orchestra Association, London) in the club rooms, when artist members of the club solely are to make up the program.
47Mr. Francis H. Kimball has completed the plans for the club rooms, which will cover the entire ground floor of the Casino building, covering an area of over 8,000 square feet, and running back to the stage line, and including ladies' and gentlemen's restaurant, drill room, reading and smoking rooms, billiard room, &c.
49The first burlesque operetta to be presented under the Aaronson régime will be selected from the Offenbach répertoire, including "La Belle Hélène" "Barbe Bleue," "La Perichole," "Geneviève de Brabant," "La Jolie Parfumeuse," "Les Contes d'Hoffman," "Madame L'Archiduc" and "Les Bavards."
51Twice a week vaudeville performances of a high order are to be given in the theatre proper (after the regular entertainment) for members of the club and their guests only, and Sunday evenings Mr. Rudolph Aaronson contemplates giving popular promenade concerts similar to those at Covent Garden, London, the orchestra to be under his personal direction.
53A feature of the club will also be the admission of ladies to the grand restaurant from 9.30 to 12.30 p. m., and arrangements are now almost perfected with one of New York's most efficient and popular restaurateurs, thus providing New York with a veritable "Casino," a prototype which has long been in vogue in all the principal cities of Europe.
55The National Saengerfest.
57THE Grand National Saengerfest, for which the various German singing societies of this and other cities have been rehearsing for several months, will be opened at Madison Square Garden on Friday evening with a monster torchlight parade, in which 30,000 singers are expected to take part, and the dedication of the memorial arch, which is now in process of erection at the corner of Madison avenue and Twenty-sixth street.
59The parade will start at Houston street and Second avenue, and the line of march will be as follows: Second avenue to Fourteenth street, through Fourteenth street to Fourth avenue, Fourth avenue to Twenty-sixth street, through Twenty-sixth street to the memorial arch, which will be dedicated with appropriate exercises. The singers will then be reviewed by President Cleveland, Governor Flower and Mayor Gilroy. After these ceremonies the parade will continue to Fifth avenue to Fifth street, where the singers will be disbanded. Persons living along the line of march are requested to illuminate and decorate their houses as a sign of welcome to the visitors.
61The first concert of the Saengerfest will be given on Saturday evening, under the direction of Mr. Carl Hein, official music director of the New York Federation, with the assistance of Miss Emma Juch, soprano; Conrad Behrens, basso; Victor Herbert, cello, and an orchestra of 150. The program will be as follows: Vorspiel to "Die Meistersinger," orchestra; "Bundeslied," Franz Lachner, chorus and orchestra; speeches by Mr. William Steinway, Governor Flower and Mayor Gilroy; "Frühlingslied," Carl Wilhelm, male chorus, a capella; air from "The Queen of Sheba," Miss Juch; polonaise, F. Liszt, orchestra; "Die Heimat," R. Tschirsch, male chorus, a capella; air from "The Magic Flute," Mr. Behrens; "cello solo, "Kol Nidrei" (by Max Bruch), Mr. Herbert, and "Germanenzug," by John Lund, chorus and orchestra, with solos by Miss Juch and Mr. Behrens.
63At this concert the central or state boxes at the Madison avenue end of the Garden, of which there are five, will be occupied as follows: No. 3, by President Cleveland and members of the Cabinet; No. 2, by Governor Flower and staff; No. 4, by Mayor Gilroy and party; No. 1, by Ambassador Runyon and a party of friends, and No. 5, by the German Consul General from Washington. Among the occupants of the arena boxes will be Richard Katzenmayer, William Steinway, Charles G. F. Wahle, Jr., F. K. Sturgis, Senator Stadler, Thomas Hamilton, Jacob Ruppert, J. George Gillig, George Ehret, Adolph G. Hofpel, F. A. Ringler, H. W. Miller, George Fischer, William Wicke, J. M. Ohmeis, Hugo Ritterbusch, Dr. Joseph Senner, Herman Ritter, Ernest Ursch, Oswald Ottenfeder, Richard Weinacht, Howard Carroll, J. P. Windolph and John M. Starin.
65The competitive prize singing will begin a week from this afternoon. For this purpose the societies are divided into three classes, according to their numerical strength. Three valuable prizes are offered in each class, as follows: First, Steinway grand pianos; second, solid silver cups, and third, solid silver wreaths. At the concert on Sunday afternoon the societies of the first class will sing "Das Grab am Busento," by J. B. Zerle, and those of the third class will sing "Waldeinsamkeit," by Johannes Pache. The societies of the first class are as follows: Orpheus, Buffalo; Harmonie, Baltimore; Junger Maennerchor, Philadelphia; Quartet Club; Arion, Brooklyn; Zolner Maennerchor, Brooklyn.
67Those of the third class include Troy Maennerchor; Gambirnus Saengerkranz, Philadelphia; Albany Maennerchor Quartet; Delaware Saengerbund, Wilmington, Del.; Echo Quartet, Brooklyn; Arbeiter Maennerchor, Elizabeth, N. J.; Sachabischer Saengerbund, Newark; Brooklyn Maennerchor; Cecilia, Grand street, Brooklyn; Allemannia Maennerchor, Philadelphia; Krouznacher Saengerbund, Philadelphia; Lancaster Maennerchor, Lancaster, Pa.; Eichenkranz, East New York; Orange Valley Junger Maennerchor, Orange, N. J.; Leiderkranz, Syracuse; Eintracht, Newark; Concordia, Waterbury; Conn.; Harurgari Saengerbund, Orange, N. J.; Harmonie Maennerchor, Reading, Pa.; Arion, Washington; Bergische Harmonie, New Haven, Conn.; Liederkranz, Jersey City; Alpenroschen, Brooklyn.
69The societies of the second class will sing "Herbstnacht," by Max von Weinzierl, in competition on Monday afternoon. This class includes Columbia, Philadelphia; Concordia, Bridgeport, Conn.; Deutscher Saengerbund, Buffalo; Germania, Newark; Saengerbund, Washington; Arbeiter Saengerbund, Philadelphia; Williamsburg Saengerbund; Harmonie, Philadelphia; Orpheus, Pittsburg; Harmonie, Newark; Liederkranz, Scranton, Pa.; Bayerischer Saengerbund, Newark; Arion Quartet Club, Brooklyn; Teutonic Maennerchor, Allegheny City, Pa.; Concordia, Philadelphia; Arion Jersey City Heights; Gesang-Verein Liberty, Newark; Eintracht, Albany, Brooklyn Saengerbund, and Arion, New Haven. one of two readings
70The societies of the second class will sing "Herbstnacht," by Max von Weinzier, in competition on Monday afternoon. This class includes Columbia, Philadelphia; Concordia, Bridgeport, Conn.; Deutscher Saengerbund, Buffalo; Germania, Newark; Saengerbund, Washington; Arbeiter Saengerbund, Philadelphia; Williamsburg Saengerbund; Harmonie, Philadelphia; Orpheus, Pittsburg; Harmonie, Newark; Liederkranz, Scranton, Pa.; Bayerischer Saengerbund, Newark; Arion Quartet Club, Brooklyn; Teutonic Maennerchor, Allegheny City, Pa.; Concordia, Philadelphia; Arion Jersey City Heights; Gesang-Verein Liberty, Newark; Eintracht, Albany, Brooklyn Saengerbund, and Arion, New Haven. one of two readings
72The Town Federations of Philadelphia, Brooklyn, Newark, Baltimore, Albany, Trenton, Troy and Hudson County will also compete on this occasion.
74Concerts will also be given on Sunday and Monday evenings. That on Sunday evening will be under the direction of Mr. Frank van der Stucken, of the Arion Society. The program will be as follows: Overture, "Rienzi," orchestra; "Land-Kemung," by Edward Grieg, male chorus and orchestra, with baritone solo by Mr. G. Campanari; scene and air from "Oberon," Mrs. Materne; "Die Täger der Rosen," by Max Spicker, male chorus, a capella; violin solo, "Gipsy Dance," by Pablo de Sarasate, Miss Maud Powell, violin solo; "Klage," by F. Gluck, male chorus, a capella; prologue, "Pagliacci," Mr. Campanari and orchestra; preludio; "Lockung," by Louis Koemmenich, male chorus, a capella; scenes from "Eslamonde," orchestra; "Bundes-Hymne," by Frank van der Stucken, male chorus and orchestra, with solo by Mr. Campanari, and "American Fantasy," by Victor Herbert, orchestra.
76The program for the third and last concert on Monday evening, which will be under the direction of Mr. Heinrich Zoellner, of the Liederkranz Society will be as follows: Overture, "Oberon," orchestra; "Pilgrims Chorus," "Tannhäuser," male chorus and orchestra; bolero, "Sicilian Vespers," by Verdi, Miss Lilian Blauvelt; "Still Ruh't der See," by Pfeil, and "Schierrlied," by Eckert, male chorus a capella; piano solo, "Concertstück," by C. M. von Weber, Arthur Friedheim; air of the "Cardinal" from "The Jewess," Emil Fischer; "Wo Mocht Ich Sein," by C. Zollner, male chorus a capella; "Tanz der Silphen" and "Faust's" "Höllenfahrt" from "Damnation of Faust," by H. Berlioz, orchestra; "Der Kamerad," by A. Claassen, male chorus a capella; air from "The Magic Flute," Mrs. Marie Tavary; "Preis der Deutschen Musik," by Heinrich Zoellner, chorus, solo and orchestra.
78The Saengerfest will conclude on Tuesday with a picnic and summer night's festival at Ulmer's Park, Gravesend Beach, L. I., when the prizes will be awarded to the successful societies, participating in the singing contests.—"Herald."
80Lost Song Voices.
82A QUOTATION from THE MUSICAL COURIER's article bearing the above caption in the current number of "Musical Opinion," London, leads me to suggest that persons who are interested in the subject of early Greek music would find valuable evidence of its artistic character in the discoveries made at Corinth by the German antiquary, Mr. Krautmann.
84The two metal tablets unearthed there by him, in addition to information concerning the feast to the account of which they were devoted, tell that Pherekydes had invented a new method for all the flutes and cytharas together. But all those skilled in music, who could play on the flute or the cythara, had assembled in order that all might play together in the new method, and they were full 800 in number. After the Rythmagas had ranged them in order he appointed secondary givers of the time, with white staves. But they stood facing the morning, midday, evening and midnight. Pherekydes had stationed himself in the centre and had placed himself on a high seat, waving a golden staff, and the players on the flute and cythara were placed in a circle round him. Now when Pherekydes with his golden staff gave the signal all the art experienced men began in one and the same time, so that the music resounded afar, even to the sea. And Pherekydes had arranged it so that tones differing from each other came together in such a manner that therefrom a harmony arose.
86Let him who questions the knowledge of the ancient Greeks touching the laws of harmony and orchestration first dispose of these Corinthian tablets.
88C. CROZAT CONVERSE.
90ORGANIST—Wanted a position as organist and choir master in a Catholic church or cathedral by an English gentleman of several years' experience in Europe. Since 1887 has held a high position in this country. Will be able to resign present appointment in September. Address Organist, care of Prof. J. A. Mitchell, Mt. St. Mary's College, near Emmitsburg, Md.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.