Scan 20
Musical Courier 1894-10-03: Vol 29 Iss 760, 1894
53 lines. Read by computer on 22 September 2026. Printed page 21. See the scan on archive.org.
1fuses to keep his contract, I will prevent him from earning his living otherwise as a more indirect means of compelling him to do the same thing. I do not quite see why, if an equitable remedy is to be given for the purpose of making an artist keep his contract, the usual remedy should not be given, and the whole of it. Why if I say, "If you do not sing for the plaintiff you shall not sing elsewhere," I should not say, "If you do not sing for the plaintiff you shall go to prison." I think that the later English judges are quite alive to the force of these considerations and simply bow to the authority of Lumley v. Wagner, which, of course, does not bind me.
3It is one thing to say that a singer should not perform at a rival theatre in the same city and another to say that she shall not perform anywhere. If I was to stop here very likely I should issue an injunction. But I should have to have evidence, perhaps, and at all events, to frame it with great caution, to avoid giving it a turn which I do not think ought to be given to it. I now come to the other ground of defense relied on.
5Of course the breach of an earlier contract is not a legal defense to this one. But as I said at the hearing, on the question of an injunction, which does not follow, as of course on the establishment of a legal right, I think that the solvency of the plaintiff, and the certainty of the defendant getting her stipulated pay, are of importance here, and that past experience ought to have some weight with me, as it did with her. On reflection I do not think it enough that the plaintiff at the hearing offers a bond and the responsibility of third person with whom defendant did not deal for the performance of his undertakings. If I am satisfied, as I am, that the defendant when she refused to perform and made other arrangements, rightly believed that whether she got paid or not depended at least upon the plaintiff's luck in the following session, and perhaps on other elements, I do not think that I ought to compel her to a choice between sharing the plaintiff's risks and idleness or qualified idleness. For even a qualified injunction would interfere, I must assume, and for all I know might interfere fatally with the practical possibilities of employment.
7And now Miss D'Arville goes on the road with "Madeleine."
9PHILIP HALE.
11From Mr. Cowen.
13Editors The Musical Courier:
15SIR—My attention has been called to an article about myself and my opera "Signa," which appeared in your issue of July 25. I have no desire to lay any emphasis on the curious fact that there should be two such opposite opinions expressed on my opera in the same issue of your paper—the one I have referred to above, written in New York, the other contained in the letter from your London correspondent, but I feel that, in justice to myself, I should be allowed to correct a gross misstatement which occurs in the former of these notices. It is stated therein that I "boldly declared that the intriguing and wire pulling of Mascagni and the others of the brood of composerlings in Milan did much to make my opera fall flat." This is absolutely untrue. It is not my intention at this remote distance of time to again enter into a detailed account of my experiences, pleasant or otherwise, in the "Land of Song," but I may say that any complaints I had justly to make were certainly not directed toward any of my Italian colleagues. I have the pleasure to be a personal friend of Mascagni, as well as of Boito, Franchetti, Puccini and others, and not only do I consider any of these gentlemen incapable of intriguing against a brother musician, of whatsoever nationality, but I owe them my special gratitude for their cordial acknowledgment of my success with the Milanese public, and for the united sympathy which they afterward extended toward me at a most trying moment of my career.
17I trust you will oblige me by inserting these few remarks in your next issue, and, in conclusion, I would add that my right name is not either "Cohen" or "Kohn," but always what I now have the honor of signing myself.
19Yours obediently, FREDERIC H. COWEN.
2173 HAMILTON TERRACE,
22LONDON, N. W., September 13, 1894.
24Jaroslaw de Zielinski.—The Buffalo papers announce that this well-known pianist has after a year's absence returned to stay in that city, devoting himself to his work of teaching and concertizing.
26Marguerite Wuertz.—Miss Marguerite Wuertz, the violinist, will shortly be heard in concert under the patronage of Mrs. J. D. Rockefeller, the concert taking place at the latter's residence. She will also appear later with the Damrosch Orchestra.
28The Sutro Sisters—Rose and Ottilie Sutro, the ensemble pianists, who have made such astonishing successes abroad, are expected to return to America about November 1, and they have already been engaged for numerous concerts, in which the novelty of their performance promises to attract unusual attention.
30Johann Strauss' Silver Wreath.—Mr. Rudolph Aronson is just in receipt of a cable from Vienna, signed Baron Bezecny, chairman Strauss Jubilee Committee, announcing that the presentation of the Johann Strauss silver wreath (subscribed to by his American admirers) will take place on the stage of the Imperial Opera House October 15 next. Mr. Aronson will sail to-morrow for Vienna and will present the wreath in person. He expects to be gone about four weeks. Nearly every theatre orchestra in New York will perform a program made up entirely of Strauss compositions on October 15, as also the Eden Musée Company and the Aeolian Company.
32Dennis for the benefit of the "Times-Mail" Relief Society. Those taking part in the attractive program gave their services gratis. The Arion Lady Quartet sang several selections. The ladies sang with artistic finish and made a decided impression. The Imperial Male Quartet also deserves praise. Will P. McHenry sang with spirit and correctness. Mr. Winter played his violin pieces admirably. Mrs. Myer S. Emrich made a sensation with her fine interpretation of Proch's air and variations. Her voice is brilliant and powerful, and she has devoted much careful study and practice to the training of her voice. Will E. Dennis sang his songs in a manner which speaks well for his merit. His voice is a pure high tenor, and he has much feeling and expression. Miss Gertrude Grosscup deserves the highest praise for her artistic work at the piano. She is certainly an ideal accompanist.
34The latest musical organization of this city is the Chicago Operatic Club. It is composed of Mme. Ragna Linné, soprano; Miss Bella Tomlins, contralto; Messrs. F. W. Zimmerman and J. Armour Galloway, tenor and bass, and Angelo De Prosse, musical director and pianist. These people have had long experience on the concert stage and also are familiar to that of the opera. Their intention is to give scenes from operas, with scenery and costumes, and also to do concert work. Their répertoire as announced is extensive and is made up of classic and popular compositions.
36Bruno Steindel, the favorite violoncellist, will give a concert in Kimball Hall Thursday evening, the 18th inst. Mr. Steindel will have the assistance of Miss Mathilde Stumpf, pianist, and Bruno Kühn, violinist. Adolf Weidig has returned from a visit to Europe and will play with the Chicago Orchestra this season.
38The subscriptions to the Chicago Orchestra concerts are coming in rapidly.
40F. Wight Neumann has returned from Europe. He has many contracts with celebrated artists for this season in his safe.
42WALTON PERKINS.
44"Parsifal" and the Holy Grail.
46IT is useless to compare Wagner's "Parsifal" with any ordinary opera; it is more akin to the mediæval miracle plays, with legendary characters substituted for Biblical dramatis personæ, and every modern accessory of scenery and detail supplementing the cruder dramatic art of olden days. In some respects "Parsifal" recalls our English "Piers the Plowman." Just as in those remarkable visions "Piers" first represents the typical honest laboring man, and then in the later visions of Dowel and Dobest becomes the personification of the Saviour Himself, so in Wagner's festival drama the hero first embodies man in his early innocence and purity, and then develops into the fuller symbolism of the Saviour and Deliverer, and by his resistance to evil, and his sympathy with the suffering of "Amfortas," delivers "Kundry" from her curse, cures "Amfortas" and becomes in his turn the guardian and minister of the Holy Grail.
48The scenes—particularly the Hall of the Grail—are triumphs of stage illusion; but I cannot help feeling sorry that the Cup itself is illuminated by electric light; it is impossible to help seeing the connecting cord that hangs from it, and even the spark glowing inside the ruby glass. The stage directions, as printed in the English version, "a blinding ray of light shoots down from above upon the Cup, which glows with increasing purple lustre," sound both more suggestive and more impressive. Electricity in connection with the Holy Grail is an anachronism.—The "Spectator."
50For Fursch-Madi's Child.—A concert will be given at the Madison Square Concert Hall on Saturday evening, October 20, under the auspices of the National Conservatory of Music for the benefit of the fourteen year old daughter of Mme. Emy Fursch-Madi, Anton Seidl and his orchestra, Mme. Lillian Blauvelt, Miss Mabel Phipps and Miss Bertha Visanski are among those who are to appear. Mme. Fursch-Madi's death two weeks ago in circumstances which left her daughter dependent on the aid of those friends whom her mother was too proud to appeal to was regrettable enough to make this concert worthy of generous support.
52Harriet A. Shaw.—Miss Harriet A. Shaw, the American harpist, returns to Boston after several months' absence in Europe, where during July and August she was the solo harpist in the Belvedere Orchestra, at Dresden. On the eve of her departure Royal Music Director A. Trenkler presented our charming countrywoman with a photograph of himself and a letter in which he says: "Miss H. A. Shaw, Harfenkünstlerin aus Boston hat in einigen meiner Sommer Concerte in Königlichen Belvedere mit vielen Erfolg gastirt. Miss Shaw verfügt über einen grossen Ton, vorzügliche Technik und vornehmen Musikalischen Geschmack."
The computer misreads some letters and numbers. Where a name matters to you, read the scan.