Scan 15
Musical Courier 1894-12-12: Vol 29 Iss 770, 1894
108 lines. Read by computer on 20 September 2026. Printed page 14. See the scan on archive.org.
1circle fairly writhe under the faulty enunciation of a beautiful and well taught American singer, and they all but roared out loud when she came out with a strongly accented "jwoy-yus" for "joyeuse."
3Another question to be decided as important as either teacher or talent is the amount of money you have at command and the time you can devote to the work you propose to do.
5It is safe to say that a good third of all the vocal misfortune between France and America is the result of restricted means. You have no conception how "things necessary to do" grow upon you after you get here. Unless you have some certain source upon which you can draw, better wait till you have.
7Some pupils come to Paris to study who have no more business here than one would have to attempt to enter a high school who could neither spell nor add. Masters and mistresses here cannot give themselves to primary instruction. Consequently you are handed over to an advanced student; you are dissatisfied and spending lots of money for nothing. You could master the rudiments at home.
9As for "seeing the world" in that manner you don't. When you study in Paris you do not "see the world."
11People come here with the vaguest notions about study and teachers. I met a young man this week who came over expressly "to study with an artist!" He could not play a scale evenly! He had no technical and his pieces were dreadfully shabby as to mechanism. He said that was why he came—to have all these things tended to. How much better off he would be this winter with Mr. Lambert in New York, with his money in his pocket.
13There are some teachers here who will surround you with a bevy of teachers, themselves teaching only one point. After that you are obliged to have a teacher of gesture, a diction teacher, an accompagnateur, a French or Italian teacher and a coach—all at from 10 to 20 frs. each extra. It is very cruel to many girls.
15Another trick is giving but five or ten minutes personal attention to the pupils, and having the rest done by underlings. A good pupil of a good teacher can often help materially, but it should not be at first rates.
17The more generally intelligent a girl is the better use she can make of her time and money here. Our young music students in New York are not reading enough. Teachers should not only encourage but require a certain study of musical subjects. Besides that, every girl should keep in touch with the newspapers and magazines as imagination and sentiment food. Oh, yes! there is time enough. Look at the time you waste every day talking nothing with the other girls. Time enough for that, too. But set apart an hour every day for general reading. You will be so glad of it if ever you do come here. Where to stay while studying in Paris, also the teaching of acting with singing, and how French pronunciation is taught in singing will soon be treated in this department.
19***
21One lady who knows how to combine marital happiness and musical progress is Madame Georges Moreau, of Paris. As a girl Mme. Moreau was well known in Chicago as a fine pianist and serious piano student. The story of her romantic meeting with her elegant French husband, her establishment in Paris and the continuance of her studies without interfering with her home duties, has already been told in THE MUSICAL COURIER.
23One of her first home privileges was her musical evening, to the charm and value of which many artists, both French and American, can attest. Among the artists who have taken part in her musicales are Mlle. Sidner, a Swedish interpreter of Grieg's music, who has sung at the Colonne concerts; Nouvelli, the tenor, now in New York with the Abbey-Grau company; Mme. Devianne, a French prima donna; M. Foester, the Hungarian pianist, and Mr. McGrath, an American pianist; Mme. Hetlich, the harpist; M. d'Einbrodt and M. Van Goens, violoncellists, the latter a composer; M. Rivarde, violinist, and Mlle. Taine, the organist.
25This week, however, Mme. Moreau gave her friends a more extended knowledge of her musical worth in a concert given in the pretty white and gold salle on Rue d'Athenes. On the program were:
27Fantaisie in E minor… Chopin
28Premier scherzo… Wagner
29"Chant d'Amour de Siegmund"… Wagner
30"Incantation du Feu"… Liszt
31"Kamenoï-Ostrow" (No. 22)… Rubinstein
32"Rhapsodie Hongroise" (No. 11)… Thomas
33"Hamlet", "Air du Livre"… Wormser
34"Chanson d'Acis"… Rossini
36Criticism is unanimous as to the skill, style and interpretation of Mme. Moreau's work. The hall was filled with distinguished artists and society people, who gave the musical a regular ovation at the close of the performance.
38Among those present were Consul General and Mrs. Morse; Mgr. Bauer; M. Oppert de l'Institut; la Comtesse de Lagrène; la Comtesse de Coetlegon; M. Wormser, the composer; Admiral Coulombaud; M. and Mme. Breitner; Baron de Ville, Baron and Baronne de Padirac; Marquis de Saffay and Comte de Constantin.
40Invitations were issued in the name of M. and Mme. Georges Moreau. Her husband, who is very proud of her gifts, sat in a box, and a brother-in-law, also a distinguished Frenchman, was master of the ceremonies.
42Another who assisted at the interesting entertainment was Mr. G. Waring Stebbins, organist of the Emanuel Baptist Church, Brooklyn, N. Y.
44***
46There is something right about the musical soul of a man who will voluntarily give up $100 a week to go abroad to fit himself for higher musical duties, and who at the same time gives up the luxuries of home life and the freedom and petting of a popular organist and musician for the stern and real toil of a Paris course of study.
48There is something right, too, in the spirit of the church that allows Mr. Stebbins his season of study as a "vacation."
50He is here studying organ, harmony and composition, with M. Guilmant, and his work is of the most serious of the master's class. He is at the same time listening to the best music and making note of all the important features for the benefit of his classes on return.
52In addition, he is studying voice from a teacher's standpoint with M. Sbriglia. His own voice has made the most remarkable development, meantime, so much so that his teacher suggests to him a brilliant future as a vocalist. Mr. Stebbins is too wise, however, and too wedded to his organ and teaching to give them up for any brilliant personal prospects. He intends the benefits of his instruction to go to his church and to his pupils.
54***
56M. Henri Deshayes, of the Church of the Annunciation, Paris, has just published his collection of six organ works: Grand Chœur et Menuet de Concert—Dedicated to Mr. Wm. G. Carl, of New York.
57Offertoire—Dedicated to Mr. Wm. Huber, Jr., of Hamilton, Ohio.
58Fanfare—Dedicated to Mr. Alfred Eyre, Crystal Palace at Sydenham.
59Andante—Dedicated to Mr. James M. Dickerson, organist, Philadelphia.
60Andante Religioso—Dedicated to Mr. Auguste Wiegand, organist, of Sydney.
61Romance sans Paroles—Dedicated to Mr. Geo. E. Whiting, organist, of New York.
62Andante con Moto—Dedicated to Mr. Westlake Morgan, of Bangor, Me.
63Cantabile—Dedicated to Mr. W. S. Chester, organist, of New York.
64Andante con fuoco et Toccata—Dedicated to Mr. Wm. G. Carl, organist, of New York.
65Meditation—Dedicated to M. G. Brigout, organist of St. Servan.
66Élégie—Dedicated to Mr. B. J. Rogers, organist of Dublin Cathedral.
68From which it may be seen what a large part Americans bear in the heart of the French composer.
70***
72M. Jérôme, the tenor, made a successful début in the Opéra Comique this week with Calvé, in "Les Pecheurs de Perles."
74M. Eugène d'Harcourt is giving "Tannhäuser" at the Salle d'Harcourt. It is to be hoped that Wagner can look down here some of these Sunday afternoons and see his works in every concert salle in the city and in the Opéra during the week. What a revenge on the Jockey Club!—if revenge is any good.
76"Harmonie des Chemins de Fer de l'Ouest" is the name of a very successful and progressive musical society of seventy-five members of that railroad company's employés who study, play, sing, give concerts and gain medals in competition, as though there were no travel, and nothing but music in the world.
78Colonne has advanced the price of his seats on account of the Berlioz cycle just commenced.
80Lectures on history of music and dramatic literature commence this week at the Conservatoire, the former by M. Bourgault Ducoudray, the master of the German school.
82M. Maurel has sung his last song here and has departed for the New York Opera House.
84A movement is on foot to restore the old Roman theatre at Orange, in which yearly performances may be given.
86Pretty singer to composer—Dites-moi donc, cher maître, qu'aimeriez-vous mieux : être avengle ou sourd?
87Composer—Sourd, madame, quand je vous regarde, et avengle quand je vous entendis chanter!
89***
91"Ninon de L'Enclos," in four acts and five tableaux, by Lénka and Bernede, with Edmond Missa for music, is being rehearsed at the Opéra Comique; also "Pris au Piège," by Carré and Gidalge.
93"It is a bad wind that blows nobody good." Mme. Saville, who cannot play in Russia on account of the closing of the theatres, has been welcomed by the Opéra Comique for "Paul et Virginie," now being rehearsed.
95***
97I cannot find the "Martha Fantaisie," by White, asked for.
98FANNIE EDGAR THOMAS.
100Vienna Letter.
101VIENNA, November 17, 1894.
103FELIX KRAUSS, a young and very studious looking man, with a grave, dignified bearing and a very large baritone voice, gave an interesting song recital one evening last week. The program included compositions of Brahms, Paidara, Parissimi, Schubert and Schumann, and the finished musical interpretation and mellow, well controlled organ of the singer made the evening a most enjoyable one. Mrs. Schuster-Seydel, a violinist, contributed an adagio cantabile of Tartini; ronde des luthins, Bazzini, and sarabande et tambourin. Leclair. The tone produced was unusually large, but equally harsh and rasping, so that her performance was not a prepossessing one.
105Julius Klengel, the man from Leipsic, bewitched Vienna the following night. This artist came here heralded as Germany's greatest 'celloist, and judging from the ovation tendered him, everyone's expectations were fully realized. I don't know whether Klengel is so intensely musical, but his technic is at all times wonderful, sometimes almost supernatural, and he plays with a grace and ease most impressive and delightful. Bach's sonate for 'cello alone formed the opening number, and was followed by the first movement of a Haydn concerto, "Abendlied" of Schumann; "Wiegennlied," Klengel "Perpetual Motion," Fitzenhagen; Nocturne, Chopin, and "Variations Capricieuses," Klengel. There were recalls without number, several encores, and the Haydn number and dainty cradle song of the artist were repeated. Klengel met with great success and his several appearances during the coming month are anticipated with great satisfaction.
107The program was not well arranged; too much assisting talent. Edmondo Paul, the Italian baritone, materialized again on this occasion and made, if possible, even less of an impression than at the Bellincioni concert. Paul is so intensely ladylike in his mode of singing; lots of expression and agony, you know, and what voice is left him is poor in quality; so it rather reminded me of boarding school days and musical productions in which goodly intentions were the predominant features. Georgio Franchetti, a pianist and brother of the well-known composer, gave some Beethoven variations, with fugue, which I shall not
The computer misreads some letters and numbers. Where a name matters to you, read the scan.