Scan 34
Musical Courier 1894-11-21: Vol 29 Iss 767, 1894
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176 PAGES.
3organ recitals at the Unitarian Church. The programs, besides containing an admirable variety of the best organ works, were enriched by copious notes regarding the authors and descriptions of the compositions themselves. The last of the series is to be given on November 10, when the program is to be an elective one, voted for by his last audience from a printed list of forty-four works by twenty-two authors, which he has played during the series.
5Mr. Wm. B. King is giving organ recitals at the Congregational Church in Oakland in conjunction with Mr. A. T. Stewart, violinist, and Miss Nicholson, vocalist.
7We had another taste of Italian opera recently by a local company, under direction of Prof. G. Panizza, conducted by Signor S. Martinez, who came here with Madame Camilla Urso several years ago and remained. This company sang "Il Barbiere di Seviglia" very well two nights at the Bush Street Theatre.
9I am happy to hear that Miss Effie Stewart, whose first appearance here with the ill-starred Iowa Band was—owing to her being ill—so unfortunate, is now gaining the recognition and renown her excellent singing and indomitable pluck entitle her to. I witnessed her fiasco and mentioned it at the time. She went away from San Francisco defeated, but returned later and fully redeemed herself. I now take much pleasure in recording her success.
11The fortieth Carr-Beel "Pop" will be given November 3, when, besides the usual fine chamber music, Mr. Willis E. Bacheller, tenor, and professor of singing, will assist.
13The Music Teachers' Association is evidently on the road to prosperity. It has elected for its vice-president Mrs. Ellen Coursen-Roeckel.
15Those who used to frequent M. Gray's music store a dozen years ago will remember Julius Weber, who was then employed there. He is now a professor in Mills Seminary, the father of a family, and a worthy bearer of the name illustrious in musical art.
17H. M. BOSWORTH.
19"Miousic."
20BY FRANÇOIS COPPÉE, ACADÉMIEN.
22ALMOST with trembling, on my word of honor, do I take pen in hand to-day, with a certain consciousness that I am about to expose myself to imminent risks. Yet do I feel no less bound to declare that the downpour of snobbism showering around since the production of the "Walkyrie" tells most terribly on my nerves.
24One may well apply, in a general way, to the French citizen that famous line of Sosie, in "Amphitryon," "This man assuredly loves not music." He is, to say the least, badly enough equipped in this particular. Our "choral societies" sing almost always out of tune, while our "bands," despite all the array of medals they display, inevitably skin our ears. By the way, I should like, just for once, in a way, to happen upon a banner of some "choral society" or other, or "band," not stuck over with medals. But that is a wild dream; just as well might one expect to see the shew board of a midwife who was not "first class." Our lyric theatres, meaning of course those where legitimate music is given, are only kept going by means of money grants from Government. The Opéra Comique itself, although the middle classes have not lost the habit of making their wedding visits there, and although one only hears there, in the main, the jingling airs of the stock repertory, of the sort "eminently national," it proves, after all, but a half success. The "Café Concerts" are, however, crammed, and whenever a regiment goes marching past, the street boys fall into step to the cumbrous rhythm of the military band. In order that a tune may take with us, it must be well marked, rather common, and easy to retain. As far as musical education is concerned, we are, to my way of thinking, in our first childhood.
26Well, then, come round to the opinion that the partisans of Wagner are very energetic, since they have succeeded in persuading a goodly portion of the French public into the belief that they really have understood and liked that very music, nay, more, that they do not like nor understand any longer any other. In good sooth, this is ill-founded, out and out wrong. Not more unreasonable would it be to hope for the solution of a problem in high mathematics from a pupil of the elementary schools. Rest assured that at the time being out of ten listeners who at the performance of the "Walkyrie" throw up their eyes like a carp at the last gasp, there are nine who don't understand it one jot, and yet who consent to let themselves be bored at 20 frs. an hour. It is a veritable reign of terror. "Admiration, or Death!" and no reserve, mind you, no hesitation, an' you would not be treated as an abject and ridiculous Philistine."
28Pray observe that, so far as I am concerned, it would be all one to me. I don't know music, and am but a very second-rate dilettante. For a long time past I am no longer capable of enduring at a stretch two hours of opera. I have heard of Wagner's things, which, to me, a non-initiated, seemed very beautiful, and I am quite willing to take him, in all trustingness, for a man of genius. What floors me, however, is to see the whole press and the public, when the Wagnerian brooms are aimed dead at them, fall flat in an act of adoration, which, as I feel sure, is not sincere, at least in the majority of cases.
30Well, they have made us severely expiate our former mistake in regard to "Tannhäuser." It was hissed, which was wrong. But is that the only time the public has been at fault? The "Misanthrope" made a "frost." "Phèdre" obtained only a half success. "Hernani" roused veritable tempests. And yet only literature and poetry were concerned wherein our taste is more to be relied on than in regard to music. Time makes good quickly such kind of injustice, and that is what came about in regard to Richard Wagner, who, in the main, obtained rapidly enough general acceptance and reckoned even in France, from the next day after the "Tannhäuser" was given, numerous and fervent admirers. Suffer he did, be it so, yet not more than many others, less indeed than our Berlioz, for example, who died from bitter disappointment at feeling himself unrecognized in his own country. Have we sufficiently done justice to his memory? Have we assigned to him in the general esteem the standing he deserves? I am not so sure about that.
32Yet we tumble prostrate before Wagner. We do in his case what we have not done for any of our national geniuses. We do not even allow of any discussion on his account, we swallow him full gulp, with our eyes shut, like a dogma.
34I am aware that it is, alas, the tendency of the day and that never has judgment been passed on men and things with more intolerance and exclusiveness. Lend an ear to any conversation: "Such a one has great talent; all others are imbeciles." "Mrs. So and So is very pretty, everyone else is as ugly as virtue." Raptures of "decadents," fancies of folks with highly strung nerves, which last for a brief space and then tone down like the headiness from a glass of absinthe or an injection of morphine. But should the ido chosen by our ephemeral caprice and the "dolly" in fashion hail from foreign land, oh then they enrapture us still more, for we foster in regard to ourselves a sorry distaste of all that pertains to the vanquished.
36Lately it was Tolstoi who had entirely of his own hook invented piety, and to Victor Hugo, being strong enough not to be a Russian, we went the length of forgetting the kiss imprinted by Jean Valjean on Fantine when dead long before the Raskolnikoff of Dostoïewski had ventured on embracing Sonid, the staïra. Yesterday we were all fire and flame for Ibsen's plays, in which I recognize much power, but which, frankly speaking, are dim- obscure. To-day we are quickened with perfervid emotion by the reveries vaguely atrocious of Nietzsche, and thanks to him are now haunted by certain drawing room anarchists. For several years past already we trace with regret among poets a kind of malady of rhythms and expression and therein once again detects a foreign influence. For not an ace of all that is of Latin or French origin, it springs not from our soil, nor does it pertain to our national inspiration. A Germanic fog invaded and got the better of us, I grieve to say. What would you expect! I mix like that wind from the East, which brings to us each year a parched soil and dearth, and which were things to go awry overmuch down yonder in Germany, might bring us somewhat worse still.
38Excuse my bad humor, but the incredible oblivion of our recent disasters and consequent shame, the triumph well nigh certain at the next elections of our moldy Jacobins, that return of General Dodds, guilty of having achieved a signal victory, and yet received by us almost like one under police supervision; that unmeasured admiration and almost morbid preference for everything that is not of home origin, those are in sooth unprompted symptoms. And pray don't think you gratify me by telling me that our neighbors are even more evilly influenced, that Italy is running headlong into bankruptcy and that the German socialists are going to bring every thing topsy turvy. That does not afford me the slightest comfort. If I catch a heavy cold, how far can it afford me satisfaction to learn that the lodger overhead has an attack of bronchitis?
40To hark back to the "Walkyrie," don't run away with the notion that I am cabaling against it, and am intent on donning the white jacket and cap of the pastry cook on strike, albeit in the affair of "Lohengrin," I found the pastry cooks and their upholders greatly to be excused, Wagner, by grossly insulting the vanquished, out of sheer rancor of his self love, gave proof of a very degraded soul. But, no matter, art and beauty above all things. If the "Walkyrie"—once again, I am no judge—happens to be the marvel which folks pretend, then let it take its place in the répertoire of the opera in this France of ours, forgetful of insults, and according ever a hospitable welcome to all masterpieces.
42Let me indulge in a hearty laugh anent the solemn command issued, and the "pass word of society," accepted by all, which enjoins that one has to fall into ecstasy about a work which only a very small minority, evidently, is alone able to appreciate and to understand. Look you, for some little time, too many ninnies, who, in their inmost hearts, regret the comic opera, two many shallow pated creatures, capable at most of singing "Plaisir d'Amour," and of tapping on the piano Boccherini's "Minuet," have in my presence lifted up cataleptic eyes, and assumed the airs and graces of devotees, and of those initiated into the mysteries. I have laughed to myself consumedly. Let me now indulge in "laughter bursting both one's sides."
44The other day, notably, at a great dinner, there were many fair dames who had been present at the "first night," and who (oh! I know them well) felt no other delight than in showing their diamonds and being there in full toilette. It was awful. From the shifting of the soup down to the ices, the talk was all about Scandinavian mythology, the Niebelungen, "leit-motif," and the whole jumble. While they were serving the champagne, the lady of the house, addressing herself to an elderly gentleman, who had not as yet uttered a word, asked him what he thought of Wagner's music. The old gentleman was droll to the utmost degree. "Oh, as for me, madame," he replied, while excusing himself, "I am inclined to think that there are certain obscurities in the "Noces de Jeanette."
46Dolgeville Notes.
47DOLGEVILLE, N. Y., November 17, 1894.
49THE Board of Directors of the Dolgeville School Society have organized themselves into a committee on entertainment. Eduard Dedicke is president. The committee is arranging for a course of six entertainments to be given this winter. The course will consist of two scientific lectures, two illustrated lectures and two concerts. It is the aim of the committee to secure the best available talent. The first entertainment will be given at the Turn Halle on Wednesday evening, November 21, by the New York Philharmonic Club. All profits accruing from the entertainments will be devoted to the schools of Dolgeville.
51The new Turn Hall was formally opened last Thursday and Friday evenings by the Dolgeville Turn-Verein.
53One feature of the evening was the display of the new scenery, which is perfect in its appointments. The hall has a seating capacity of over a thousand. The acoustics are excellent. The building is finely finished and is complete in all its details. It is illuminated by electricity, supplied by a motor in the building.
55GRACE M. WEYENETH.
57A Maligner of Liszt.
58AN EXPLANATION.
59Editors The Musical Courier:
60LONDON, October 27, 1894.
62IN your issue of the 17th inst. Mr. A. J. Goodrich criticises an article on Liszt's Hungarian Rhapsodies which appeared in the "Musical Standard" some years ago. Doubtless the sins of former editors will always be visited on the heads of their successors, but still I think it only just to the aesthetic standpoint of my periodical to point out that Mr. T. L. Southgate, the writer of the article which Mr. Goodrich has impaled, ceased his connections as editor of and contributor to the "Musical Standard" some four years ago.
64It is a little hard that an article written at least as long ago as that should be now dragged from the dust and torn to still further tatters, and especially is it hard that the readers of your admirable paper should be led to believe that Mr. Southgate's aesthetic opinions are those of the "Musical Standard" of to-day.
66Believe me, dear sirs, faithfully yours,
67E. ALGERNON BAUGHAN,
68Editor of the "Musical Standard."
70The above letter, having been forwarded to Mr. Goodrich, brought the following reply:
72CHICAGO, November 10, 1894.
74Editors The Musical Courier:
76While I appreciate the embarrassing position of the present editor of the "Musical Standard," I must affirm that neither THE MUSICAL COURIER nor the subscriber hereof is responsible for the fact that Mr. Southgate's article has been "dragged from the dust and torn to tatters."
78The original criticism of Liszt's Hungarian Rhapsodies I did not see in the "Musical Standard," but found it reprinted in a very recent monthly magazine. The article was credited (?) to the London "Musical Standard," but no date was given.
80A false statement is, however, equally injurious, whether it be old or new. Truly yours,
81A. J. GOODRICH.
83[In this case it strikes us that neither THE MUSICAL COURIER nor Mr. Goodrich are to blame in the matter. The editor of the "Musical Standard" is, however, justified in his repudiation of Mr. Southgate's article. The air now being clear, we would like to know if Liszt's Hungarian Rhapsodies for piano solo have any particular value. In the inevitable war which must follow this question we bar any answer which Mr. Finck may send us. His opinion is a foregone conclusion.—EDITORS THE MUSICAL COURIER.]
85Juanito Manen.—Last year a little Spanish boy, Juanito Manen by name, paid New York a visit, but did not play the violin in public. A few judges heard him and pronounced him remarkable. Last Thursday night the lad played before an invitation audience in the rooms of the Mendelssohn Glee Club. He made a marked impression, handling his instrument like a matured artist. He will soon be heard in public. His repertory is unusually large, his tone and technic highly finished, and he seems altogether to be a rara avis.
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