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Musical Courier 1894-08-29: Vol 29 Iss 755, 1894
59 lines. Read by computer on 21 September 2026. Printed page 10. See the scan on archive.org.
1on the step till his locks brushed mine! There is the box of cigarettes—sacred things! There are his pictures—the magazine articles about him and Richard Watson Gilder's poem. Here I weep, remembering the grin of the secretary.
3* * *
4His advance man was from the Fatherland. Did he come suddenly on a morning and startle the tumble-headed Topsy out of her slovenly boots with his Rhineland guttural?
5He did.
6Did he see pictures, and pictures of M'sieur, the pianist, about the drawing room?
7Ah, he did.
8Did he jump to a conclusion?
9He did!
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12But he had said it was a business transaction, and if the lady would use her influence with the press the lady should be well paid; and he knew, did Mein Herr, the lady would not, no never, for anyone but M'sieur, the pianist, do anything so ordinary as to get notices—as many as possible—in advance of a great artist.
13And, later, twelve tickets would not repay the lady, and a great argument ensued. Forgotten the head bent over the banister; forgotten the smile and the words: "I haf learned, as I said, las' year Englis'; you haf not French learned, ah? You are pal, so pal, so."
14Very well—but again I see the laurel wreath of silver and I hear the minuet—I hear his voice, and the hair shines gold through the perfumed smoke of his cigarettes. Again I am sitting with the clashing of many instruments rending the air, till lo! down the narrow path he pushes his way, 'mid ratting violin racks and rustling piano scores, till the crowd applauds and he sits down at the piano, pushes up his cuffs and looks skyward, and then with a sudden movement comes down with firm, white hands on the ivory keys, and we greet the gold-headed maestro, Paderewski.
15Then I look at the letter in my hand. Shall he think it, the horrid German, that I love the Pole? That I would be—because of my affection for him whom all women are raving over—imposed on, I, who—ah, quiet, it must be a triumph for American women; demand your rights—let the German not cut his bill—have your pound of flesh to the last jot.
16It was a triumph!
17But the cigarettes are ashes and the pictures but vignettes of memory. The old church and the ivy, and the little wooden stair, and the fancy, framed in wavering smoke, is like the fading surface of some master's work of art. I kiss my hand to the fleeting visions as I wind on up the path of life. Some time I will have mastered French and explain to M'sieur, the pianist!
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20I am the recipient of many letters since last week. I am congratulated on my birth and profound knowledge of Hebrew, and welcomed as a "Mispogah" by a score of kindly people. It only shows to me the enormous and admirable freemasonry which exists among the Jewish peoples. In my little etching I attempted to show the spiritual conflict of a Jewish-born musical genius, one for whom the symbols of his religion had no longer any significance, but who forgot to count upon the tremendous racial equation in his case. The Jews are the most interesting race alive to-day to the earnest student of ethnology, but are trembling, like the unfortunate "Ostrowicz," on the brink of a great moral abyss. They may become unbelievers, but they can never, except through intermarriage, escape their birthright. And why should they wish to? Intermarriage means tribal disintegration.
21The most disheartening spectacle to me is to meet a pure blooded Jew who is ashamed of his birth. A nation whose history is the grandest heritage that Christianity can boast of, and a nation that has outlived perils that would have submerged any other race, is not one to be ashamed of. Just look at the formidable list that has been compiled by the Rabbi Moreis of distinguished Jews in every walk of life. As for the musical end of it, the number of brilliant singers, beginning with Patti, the violinists, pianists and virtuosi of all sorts, such a catalogue is rather a disheartening one to musicians of other races. In composition I agree with my confrère, Mr. Floersheim, the top of the notch has not yet been reached by a Hebrew-born composer. That there is a distinct quality in music which we have learned to call "Jewish" I do not doubt. Why then should the Jewish-born composer not essay to work his own native vein of musical ore? Give over the silly pride which prompts him to imitate other men's work, and the fear of being called Jew, which feeling is after all only a survival of the times when the race had to burrow in the dark because of the shameful unchristian persecutions.
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24As for myself I cannot admit the soft impeachment of my numerous correspondents. The knowledge of a few Hebraic phrases is not conclusive proof of a man's birth anymore than one swallow does not proclaim summertide. I can only say, like the peddler in the story, "Oxguse me, Shudge, but don't you give it away; I'm a Quaker."
26It is in Russia that the folk-lore is especially cultivated, and where popular songs are numerous, probably on account of the vast extent of the empire and the various races inhabiting it, as well as on account of the lack of facilities of intercommunication. The songs of the people are full of poetry and originality. Musicians of the new Russian school use them in their compositions, which gain by this much color and character. Russian folk-songs have been made known here by Mme. Lineff, who trained a Russian choir and appeared with it in this city, as well as at Chicago during the World's Fair. Messrs. Baron and Wissendorff, at Mittau, have begun a publication of Lithuanian songs; they have collected not less than 65,192 songs in Livonia, 65,548 songs in Courland, 16,043 in several localities distinct from these two countries, and finally 6,648 in the Vitebsk part of Lithuania—in all 153,431 popular songs!
28Cesar Thomson.
30CESAR THOMSON will positively make his American début in Carnegie Music Hall on the evening of October 30, when he very likely will be heard in the first Bruch concerto and a grand fantasia by Paganini, arranged by the artist himself. Of the series of thirty concerts for which M. Thomson is engaged Mr. Wolfsohn has already sold twenty, with a large number of applications pouring in daily. The great artist will be heard in Boston, Philadelphia, Baltimore and Washington in conjunction with the Boston Symphony Orchestra. With the New York Symphony Society Thomson will play Dr. Leopold Damrosch's violin concerto. He will also play with Theodore Thomas in Chicago a new concerto never before heard in this country. Mr. Wolfsohn is negotiating for a supplementary season with Thomson.
32HENRY WOLFSOHN.
34Selma Koert-Kronold.—Mme. Koert-Kronold, who achieved such success in connection with the performances of German opera given last season by Mr. Damrosch, has just been engaged as the leading soprano for the St. Louis Exposition Association for the week of September 17.
36Carlotta Desvignes.—Miss Carlotta Desvignes, contralto, well known by her clever interpretation of "Samson and Delilah," "The Messiah" and other oratorios given by Mr. Damrosch, made a great hit at a recent recital given by her in London. She expects to come to this country again this season, and will appear at "The Messiah" concert to be given by the Oratorio Society of New York.
38Augusta Salvini Leaves.—Augusta Salvini, the Spanish singer, left New York last week for Madrid, where she is to appear in a new operetta, which is being written especially for her. Her appearance in this city has been postponed till next spring or possibly earlier. During her short stay in this country she made numerous friends and the evening before her departure gave a private musical at Lakewood.
40Dr. Ziegfeld Returns.
42DR. F. ZIEGFELD, president of the Chicago Musical College, returned from his summer outing in Europe last week, and immediately plunged into the preliminary examinations and the other work necessary for the beginning of the fall term of the celebrated institution over which he has presided for nearly thirty years. The doctor found a great plenty for him to do upon his return, for indications are that the college will be exceedingly well patronized this year. The number of applications is largely in excess of that customary at this time, and the necessary examinations have in consequence been very numerous. Each applicant is examined by Dr. Ziegfeld personally and assigned to the appropriate department. It can readily be understood that this in itself is a labor of no mean proportions.
44The heads of the various departments have returned from their summer tours, and in every way the old Chicago Musical College is prepared for a very busy time. Bernard Listemann, the celebrated violinist; William Castle, the operatic tenor, whose name is known around the globe; Hans von Schiller, the renowned solo pianist; Louis Falk, the great organist, and indeed the entire corps of prominent instructors who have helped to make the college famous, have been re-engaged, and the high grade of the curriculum will as a matter of course be kept up.
46Whether Dr. Ziegfeld during his trip abroad made any special engagements or arrangements of interest to the college has not yet developed publicly, but it is entirely safe to say that if any feature can be added to assist in the value of the work of the Chicago Musical College Dr. Ziegfeld will not permit it to escape his prompt attention.
48The Story of a Strad.
50THE following true story of an incident in the life of a genuine Stradivarius violin helps to confirm the opinion I have always held, says a writer in the "Sketch," that if one of these illustrious instruments could only tell its history the result would be one of the most interesting narratives ever written. Joseph Lanner, the great Austrian bandmaster, and father of the no less celebrated maitresse de ballet, Madame Katti Lanner, had in his possession a "Strad," of which he was of course very proud, and for his performances upon which he was justly noted. At his death the instrument was left to his daughter, and a wealthy amateur made her a very handsome offer for it. Seeing that it was a treasured souvenir of a dear parent, Madame very naturally refused to part with it, but found great difficulty in deciding how to place it in safe custody. To carry it all over the world with her seemed neither prudent nor desirable, and she accordingly hailed with delight the offer of the manager of a large banking firm to keep it for her in the bank safes.
52The violin now enjoyed a long spell of rest; but every now and again, at various stages of her triumphant career, Madame would hear from her friend at the bank, saying that the violin was safe, and that if she wanted it at any time she had only to say so. Several years passed, and then suddenly the letters ceased. Shortly afterward the sensation of a passing hour was that bank manager's suicide. It was the old story. He had gambled with the funds at his disposal, the luck had gone against him, he made a final effort to clear himself, and, being unable to do so, had shuffled off this mortal coil. Before taking the last dread plunge, he had raised money on all things available, and among them of course the famous old "Strad" was too valuable to be spared. Every effort was made to recover it, but in vain; the distance from the country and the apathy of officialism were against all endeavors, and to this hour Madame does not know what has become of the instrument which, under her father's magic touch, had charmed so many thousands of lovers of music.
54A Little Trouble at Brighton Beach.—Mme. Tavary having refused to fill her engagement to sing at Brighton Beach, Anton Seidl sends the following explanatory note to this newspaper:
56"I have just received a letter signed by Charles H. Pratt, manager of Tavary Grand English Opera Company. Now, I know only Mr. Henry Wolfsohn as agent for the concert engagements of Mme. Marie Basta Tavary, and I have engaged Mme. Tavary many times during the past five or six years through him only. He made the engagement for me for the Brighton concerts. Later on she wrote a letter to Mr. Wolfsohn saying she would not sing for me, as she must have rehearsals with her opera company. This lame excuse came after she had been advertised in the papers and in our programs."—Times.
58St. Louis Concert Course.—Mr. Chas. R. Pope, the veteran theatrical manager, of St. Louis, and proprietor of Pope's Theatre, is going to run one of the finest courses in America. He has already engaged such eminent artists as Ysaye, the Belgian violinist; Paderewski, and Henri Marteau, the talented young French violinist. This course is backed and supported by the leading people of St. Louis, and nothing but the best attractions will be engaged.
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