Scan 13
Musical Courier 1895-03-20: Vol 30 Iss 784, 1895
94 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1bless them!) where phonics are obligatory. A lot of brogues, like boats tossing on a stormy channel, go into a class, and come out like so many pins in a paper.
3I suppose the reason why this fundamental has been so long neglected by educational authorities in France is because the country has not heretofore been deluged by foreigners as in America. The abominable foreign accents have been considered an unavoidable infliction by the polite Gauls, who try their best to endure them without wincing. The worst sufferers by the negligence have been the singers who fail utterly of French engagements through this one serious flaw.
5To a progressive mind it seems perfectly absurd that it should have been left to the discovery of two intelligent Frenchwomen whose heads as well as hearts were enlisted in the foreigner's cause while polishing the accents of their own artists. I dropped in yesterday to see these interesting teachers at their work. Busy in two separate rooms of their pretty home, so identical was the idea pursued by each that it seemed as if one mind were directing both.
7One was at work on sounds as applied to scales. A great fault with Americans is that of changing the sound of the vowels after attack—a habit with us fatal to French. We say mow-er for more, &c. The teacher was having the pupil sustain, as a bell, the tricky French vowels guarding the production of sound as well as of tone. The words of a song were then spelled by sound and afterward sung by sound-spelling, but no singing of the song yet, I assure you, for a couple of weeks. The pupil was a petite brunette with clear, vibrant voice in good control, Miss M. Carrington, of New York, a pupil of Delle Sedie.
9The other teacher was showing to a Sbriglia pupil, also American, how our consonants stand out in sentences like hob nails in the soles of shoes, while our vowels are short, like the tap of a hammer on tacks. In French the consonants are brushed like the whizz of a bee's wing against a flower petal, while the vowels are long and smooth like dripping honey. The idea was being applied to arpeggios with a transforming effect. This sort of thing is even more important to our singers than a knowledge of the French language. If only our teachers would pursue it at home and if only our pupils would commence it at once here!
11Last evening M. and Mme. Guilmant royally entertained the American organ pupils of the organist at their Meudon home. The elaborate menu cards were ornamented by a lyre in gold—appropriate emblem for so musical a gathering. As at other dinners in this hospitable mansion, the master was the life of the party, bubbling over with wit, spirituality and a genial humor that was contagious. Madame is a typical hostess—full of live intelligence, composed, jolly and a perfect mistress of comfort. She seems to find special pleasure in entertaining Americans, and the young organists' dinner was no exception. Her brother, one of the jolliest of Frenchmen, contributed largely to the mirth of the party by his amusing attempts at English conversation, and by his immense amazement that there were so few smokers among the gentlemen.
13After dinner M. Guilmant consented to play his new fifth Organ Sonata from the printers' proof sheets, to the great delight and no little instruction of the boys. It is a beautiful addition to his already rich stock of organ compositions. Mr. Stebbins sang one of his songs charmingly. Mr. Carl looked approvingly on from his favored photograph frame, and the company declared the evening one of the best of their lives.
15By the way, M. Guilmant has had the courtesy to lend his new sonata proof sheets to Mr. J. Alfred Pennington, the Oberlin organist, who is one of his pupils, and who will thus be the first to play the composition. Mr. Pennington is taking singing lessons from Sbriglia, who declares that he has "une belle voix de tenor, vraiment magnifique." Always considering himself a baritone, he is surprised to find that by the correct system of breathing he can sing high tones with perfect ease.
17Miss Emilia Wood, of whom you read in connection with Miss Sandmeyer's tea party, was in trouble one evening this week. Going to the Salle Erard with her mother, on getting out of an omnibus she dropped her portemonnaie with some 35 frs. into her pocket, as she supposed. Instead it went—who does not sympathize?—into the pocket hole! Thanks to French regulations, she had it restored two days later, after no end of trouble.
19Who will invent a useful pocket?
21Miss Wood, who is an accomplished pianist, is studying voice with Madame Marchesi, and is to sing at the musicale. Her song has a flute obligato and an Opéra flutist has been engaged expressly for her and another pupil.
23Dr. and Mrs. Thomas W. Evans gave a grand reception at the Lafayette Home, No. 187 rue de la Pompe, on the evening of Washington's Birthday. Music, tableaux and dancing, with a few fitting speeches, composed the entertainment. The chief point of Dr. Evans' philanthropy is to keep American students American citizens, and his patriotism cannot be too highly commended.
25Chats with American mothers in Paris on the subject of their daughters' musical life here will soon be treated in these columns.
27M. Alfred Ernest writes his satisfaction concerning a recent article, referring to his translations, read in a late issue of THE MUSICAL COURIER. The Wilder-Schott trial is expected shortly, a trial that will prove whether or not the Wagner dramas are open to translation by all. M. Ernst has full faith in the decision of the tribunal.
29At a diner intime and soirée musicale given by M. and Mme. Napoléon Ney, before their departure for Tunis, a curious musical novelty was afforded. Oriental melodies were played upon the original instruments of the countries, and sung by artists of the countries also. The music, however, had been re-edited in French with European harmony by M. Paul Pecquery, who, with French artists, sang French romances of the eighteenth century collected by the master of the house. Mme. Napoléon Ney interpreted also ancient airs in a gifted manner.
31Élén, now being played at the Théâtre Libre, was written by M. Auguste Chapuis, organist of St. Roch, who is besides teacher of harmony in the Conservatoire and superintendent of the music in the public schools of Paris.
33A concert organized by M. Lucien Wurmser, the composer, and dedicated to the works of the late Benjamin Godard, will be given in the Salle Pleyel in March.
35The Society of Composers have had a re-election of officers. The president now is M. Joncières; vice-presidents, E. Altès, A. Guilmant, G. Pfeiffer, and M. Weckerlin, who is also bibliothécaire-archiviste. Arthur Pongin is one of the secretaries. MM. Armingaud, Bordier and Delioux are new members.
37At the chic little salle Bodinière M. Maurice Lefevre continues his extremely interesting lectures on les Naïves Chansons, Mlle. Auguez and children's choruses in costume interpreting the music. These lectures have been followed with interest.
39In the same hall are given also Chansons des Soldats de France, with conference by M. George Vanor. M. Franscique Sarcey also gives his conferences here. This week, too, was given a most charming and novel conference on Le Cymballum et la Musique Hongroise, interpreted by Mlle. Halasz, the lecture by M. Roger Milès.
41The crowning entertainment of this week, however, was An Hour of New Music, consisting of the works of the Baron F. de la Tombelle, with conférence by M. Ange de Lassus. The talent of the young nobleman who has consecrated his life to music was here once more accentuated before his countrymen. The works were only samples from his large and interesting budget of composition. Among his new songs were noticeably effective La Crèche, Fileuse. J'ai tout donné pour rien, Couplets de Chérubin, Sonnet d'Estienne La Boëtie and Veux tu les Chansons de la Plaine. Among his interested audience were his proud and happy publisher, M. Richault, and his equally proud and affectionate teacher, Théodore Dubois. The latter was especially pleased with an ambitious trio in A minor for 'cello, violin and piano.
43Royal triumph for Pugno at the Liszt monument concert given by Lamoureux this week. He played the Grieg concerto in A. In spite of the Lamoureux strictures, at every pause in the composition the house burst into acclamation, and at the close recalled the pianist again and again with the wildest enthusiasm. Three concertos were played at the concert, one in C minor by Saint Saëns, played by M. Diemer; the Liszt E flat, played by Mme. Jaëll, and the Bach concerto for three pianos. The Mephisto Waltz was also played by the orchestra.
45How Arthur Pougin does satirize leitmotif in treating the missa Ninon de l'Enclos! I suppose there is such a thing as running a thing into the ground, especially when it is a matter of evident copy. One writer, in speaking of the orchestration as being thick, confused, noisy, says that the young composer manages to make a noise with the sweetest instruments, and adds:
47"The instrumentalists of the Opéra Comique do not in any way help to dissipulate the errors of composers in this regard."
49That is a sweet way of saying that the orchestra there is awfully loud. The first time I was converted to underground orchestra was at the Opéra Comique.
51Jean-Jacques Mathias, the violinist, was heard this week in two Meditations for organ, violin and violoncello, written by M. Adolphe Deslandres, organist of the Church of St. Marie de Batignolles; also in Reverie and Fantasie-Valse, by the same author. The young violinist played admirably.
53Oniguine, by Tschaikowsky, translation by Michel Delines, the author's friend, is published by Mackar et Noel. Meantime the opera is being given for the second time this week in Nice, where M. Delines is superintending details.
55Lasalle bade a sort of adieu recently to the Parisian public in a concert given for the benefit of Les Alsaciens-Lorrains. The entertainment, eminently philanthropic and patriotic, was musical and dramatic.
57FANNIE EDGAR THOMAS.
59A Correction.
61MR. ALFRED A. FARLAND, who was quoted last week as having said that he was "the only banjoist in the world devoting the instrument to classical music," explains that he meant to convey the fact that "no other banjoist plays the difficult selections mentioned in the interview, namely, Bach's sixth violin sonata, Beethoven's eighth violin sonata, &c."
63Mr. Farland, who is the most modest of men, feels that some of his expressions might have read too egotistically in the eyes of other banjoists. Not so. Mr. Farland is held in the highest esteem by his confrères, who hail his coming with delight, and one and all echo the expression made by Brooks and Denton, who declared that Mr. Farland's introduction of classical programs and his persistent refusal to play trashy music on the banjo were all in favor of increasing the popularity of the instrument.
65Music as a Vocation.—"I have often wondered why parents who are casting about to choose professions for their growing sons do not select music," said Herman Berghold, of Pittsburg. "It is as easy for a young man to become equipped with a technical knowledge of music, such as will fit him to teach it to others, as it is for him to master the mysteries of law or medicine, and the remuneration from the first will largely surpass that from either of the others on the general average. It is a mistaken idea to think that a good musician must be an excellent performer on the piano or violin. Some of the best teachers in the world are woefully deficient in the mechanical execution of music. But they are versed in the science of the divine art, and understand how to convey its intricate beauties to others who already possess the muscular nature and the sentiment necessary to an accomplished performer. A well trained, well educated teacher of music is always sure of a comfortable income, no matter where he may establish himself, and the advance of higher education among the masses, which is now becoming so general, will make the profession in future an even more lucrative one for young men to choose as the field for their life's work."—Washington Star.
67(no line here) one of two readings
68MR. PLUNKET GREENE, one of two readings
69The Celebrated Irish Basso, one of two readings
70IS NOW AVAILABLE FOR . . . one of two readings
71Concerts, Oratorios, Song Recitals. one of two readings
72ALSO one of two readings
73MISS MARIE BREMA one of two readings
74(FROM LONDON), one of two readings
75Mezzo Soprano of the German Opera Co. one of two readings
76AFTER APRIL 27, 1895. one of two readings
77FOR TERMS, DATES AND OTHER INFORMATION APPLY TO one of two readings
78MR. MORRIS RENO, one of two readings
79144 West Seventy-fourth Street, New York. one of two readings
81MADAME CLARA POOLE, one of two readings
82America's Eminent Contralto. one of two readings
83Principal Contralto of Handel and Haydn Festival, Worcester, Springfield, Indianapolis, Montreal, Cincinnati; Boston Symphony, Theodore Thomas, Seidl and Damrosch orchestras, and all the principal concerts. Also of the Royal Albert Hall and Richter Concerts, London. one of two readings
84Address N. VERT, one of two readings
856 Cork St., LONDON, W. one of two readings
87ROSE and OTTILIE SUTRO,
88Ensemble Pianists.
90(no line here) one of two readings
91Address all Communications to
92C. F. TRETBAR,
93STEINWAY HALL NEW YORK CITY.
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