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Musical Courier 1895-07-17: Vol 31 Iss 802, 1895
106 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1talent has been spoken of; Mlle. de Montozon, Mr. Stevens and Mme. O'Connor. He now speaks highly of the talents and industry of a young Detroit musician, Miss Lillian Apel, who has been a correspondent of The Musical Courier at Vienna for some years.
3Mr. Breitner has just signed an engagement for a tournée in Germany next fall, where he is very well liked. He is a pupil of Liszt and Rubinstein. Among his treasures is the last composition written by Rubinstein, the 118th, and dedicated to him—a concerto for piano and orchestra. He finds America much indebted to the Germans for their musical training. The pupils who come to him from America, trained by Germans, are always well prepared.
5In speaking of Miss Marie Parcello, who gave a successful concert here under high-toned patronage, I forgot to mention that she was solo contralto at St. Mary the Virgin Church, on Forty-second street, New York, and met with a painful accident which compelled her to give up the position. She was ill for a long time, and it was to benefit her health that she came abroad. She has sung at receptions in London with success in the past two weeks. Her friends in New York will be glad to hear of her.
7I see that Miss Nora M. Green, of 420 Fifth avenue, intends opening a permanent summer schools in Paris next summer, bringing a large class with her. More anon.
9I wish that someone would come over here and open a big summer home for musical student down near that God-filled forest of Fontainebleau. Air like wine, inspiration, calm, nature at its best and richest—what a place to retire and digest a winter's study, and store vigor and soul for a future campaign! Buildings and food and everything can be had down there for a song; French peasantry in all its picturesqueness and but a couple of hours from Paris. Girls are so at sea as to what to do with their summers, and many of them waste lots of money floating about. Let somebody take them to the Forest and meet God, Art and Nature in one, with History for a drop curtain.
11HOW M. ALEXANDRE GUILMANT FEELS ABOUT MR. CLARENCE EDDY'S VISIT TO EUROPE.
13[Extract from a private letter from the celebrated French organist.]
15"I do not know if you are informed that my friend, Mr. Clarence Eddy, the celebrated Chicago organist, is soon to visit Paris and that I hope to have the great pleasure of having him come to my home at Meudon.
17"This visit of a great American organist to Europe will be good fortune for all organ amateurs, for he is an admirable virtuoso and possesses an immense répertoire. I do not believe that there is a serious organ composition which he does not know. We French well remember the magnificent concerts which he gave at the Trocadéro in 1889, and which produced a profound impression.
19"As for myself, I propose to make a veritable fête of reception for the devoted friend who aided me so efficiently in my American tournée. I have received from him testimonials of his devoted affection which I can never forget.
21"Eddy is a great organist and a noble character whom I appreciate in the highest degree.
23"Alexandre Guilmant."
25"Meudon, France.
26In this line of thought it is delightful to record the splendid programs of French music being played to-day in America by organists who have been Guilmant's students in Paris. Notably those of Mr. Wm. C. Carl, Mr. G. Waring Stebbins, of New York, and Mr. Alfred Pennington, of Oberlin, Ohio.
28Here for instance is the seventh organ recital of Mr. Stebbins, embracing writings by MM. de la Tombelle, Dallier, Salomé, Widor, Saint-Saëns, Dubois, Rousseau; and a "sixth" devoted wholly to the works of his master Guilmant, including the new fifth sonata in C minor.
30THE CONSERVATOIRE.
32The Conservatoire competitions are in full swing, and the gentle soul of M. Ambroise Thomas is being held at its tightest tension by the finesse of judgment, the capturing of shades of superiorities that, averaged, are to decide the fates of so many young artists.
34Yesterday was the decision for the Grand Prix de Rome, the poem being, as has been here before stated, Clarisse Harlowe, by M. Edouard Noël, the concurrents six, among whom were pupils of MM. Dubois and Massenet. The contest was excessively close, the session long and taxing, the trial severe. M. Thomas cannot keep his chair while speaking about it, but rises and moves about; flames in his great deep eyes, his nervous, slender fingers lacing nervously. The first prize was accorded to M. Letorey, pupil of M. Th. Dubois, and second to M. d'Ollonne, pupil of Massenet.
36Fifteen pupils have been admitted to competition for opera study, eight of whom were pupils of M. Giraudet, the rest of M. Melchissédec.
38For the men's class in piano Rubinstein's Fourth Concerto will be the test piece; the Allegro de Concert, of Chopin, has been decided for the women's trial, and for the preparatory classes a concerto in A flat by Hummel. For violin, finished, is to be a concerto by Vieuxtemps, and for preparatory the eighteenth concerto by Kreutzer; for violoncello, first concerto of Davidoff, and for harp, first concerto of Parish-Alvars.
40By the way, interesting developments in regard to the harp are to be expected through the invention of that never tiring music scientist, M. Gustave Lyon, head of the house of Pleyel, Wolff & Cie. All about it later on.
42Jeanne Franko before returning to the States played at Salle Pleyel to a select company of some twenty people, artist friends, among whom were Mrs. R. Jennings, an estimable musicians' friend, an English lady, tall, dignified and whole souled, who entertains royally and loves good music. Did you know that M. Gustav Hollander, the Berlin concertmeister, was a cousin of Jeanne Franko?
44Xavière, by M. Th Dubois, has been read for the Opéra Comique.
46MUSIC FOR THE OCCASION.
48God Save the Queen and Vive Henri IV., with Tzigane music, at the fête for the marriage of Princess Helene, of France, and the Duc d'Aosta, of Italy, in England.
50Marche Nuptiale from Romeo et Juliette, Hymne à Sainte Cecile, Panis Angelicus by César Franck, fragments of Saint-Saëns Noël, and the Tannhäuser March for the wedding of the Comte Hélie de Durfort and Mlle. de Carman in Paris.
52The Dies Irae with wailing chants at the anniversary mass for poor M. Carnot; and at one of the theatres le Perè la'Victoire, introduced in commemoration with wonderful effect.
54Touching and beautiful music at Saint Pierre de Chaillot, where a grand mass was celebrated for the repose of the soul of Alboni, the Italian singer. M. Ch. Zieger, the mourning husband, was surrounded by a band of faithful friends, among them M. Ambroise Thomas, Mme. Austin Lee, M. and Mme. Kinen, La Princesse Matilde and her ladies of honor, Comtesse de Franqueville, Comte de Belgojoso, Marquis de Genzano and many musicians and artists. one of two readings
55Touching and beautiful music at Saint Pierre de Chaillot, where a grand mass was celebrated for the repose of the soul of Albioni, the Italian singer. M. Ch. Ziegler, the mourning husband, was surrounded by a band of faithful friends, among them M. Ambroise Thomas, Mme. Austin Lee, M. and Mme. Kinen, La Princesse Matilde and her ladies of honor, Comtesse de Franqueville, Comte de Belgojoso, Marquis de Genzano and many musicians and artists. one of two readings
57French writers complain that the music which helped to celebrate the Kiel fêtes was "slow and melancholy," wholly lacking in the enthusiasm and eclat of the French music on such occasions.
59A special mass was given yesterday celebrating the patriotic fête of the Canadian French colony here. M. Hector Fabre, commissaire of Canada, and Dr. Edward Desjardins were present, and Father Prévost delivered the sermon. A reception followed at the home of Mr. Fabre, where agreeable music was also heard.
61In the Masson Memoirs this morning it reads that Napoleon never spoke good French; that he could not pronounce the French "u," which he always made "ou."
63It is perfectly idiotic that "can't, can't, can't" about French sounds. There is no French sound that anybody cannot say if taught properly to say it. If Napoleon had known the Yersins, he would not have needed three lessons by the phono-rhythmic system to have said u and o and oi and au, as no one can say them who "picks them up" and say they cannot be learned. The conservatism in studying French badly is the strongest conservatism that exists, and the most pig headed.
65Nothing but Faust and Tannhauser at the Opéra here. Offenbach's operette Péchôle has had its fortieth anniversary. The composer Lacome is traveling in Spain getting material for lectures for next season. He has written a charming Aragonaise besides. Think of Loie Fuller dancing into Scotland! And still people say, "There is no room at the top!" Miss Fuller is a familiar figure at all the American concerts in Paris. I do not know whether she loves music or has an object in it, but there she always is. She wears funny, large hats like mushroom tops, which become her piquant face.
67A son of Mrs. Karst, the St. Louis singer, who is in Paris studying with Marchisi, is one of the brightest scholars in the French Lycée, a few steps from his parents' home, where he is studying. Yesterday he received a prize in fencing and was presented with a fine sword. He is very clever in language, is now struggling with French-Latin, stands very high in his class, has won several prizes on good conduct and his portrait is in the honor-case of the Lycée Salon.
69Talking about American singers coming to Paris for influence, Mrs. Karst says:
71"My Lord! half of them might as well come over here, sit on a curbstone, turn round and go back and say they have been to Paris, for all the good their teachers do them!"
73The Lamoureux concerts are to commence October 13. Many new and interesting feasts are being prepared by this excellent chef, and I believe he intends giving special representations in special theatres.
75A harp Louis XVI. by Châtelain, left as a legacy by General Mellinet, was received legally this week in the Musée of the Conservatoire.
77FANNIE EDGAR THOMAS.
79It Was Out of Tune.—A Western paper relates that a farmer conversing pleasantly with his family took up a violin and played an air, then went into the next room and blew out his brains.
81Heinrich Schnecker Sails.—Heinrich Schnecker left last week on the Paris to spend several weeks in London, Vienna and Ischl. Mr. Schnecker will return in the autumn.
83Nita Carritte.
85MILLE. NITA CARRITTE, whose portrait we present this week, is a young operatic soprano who, although American by birth, has won her principal laurels in Europe. She has just returned to New York after a most successful tour as prima donna of the Carl Rosa Opera Company in the English provinces, and was seen the other afternoon at her family residence 103 East Fifteenth street, in her pretty drawing room filled with bric-à-brac and flowers, where she chatted for a while of her position and prospects.
87Mlle. Carritte has an extremely attractive personality, intelligent, vivacious and sympathetic. Her last success has been made as Carmen, a rôle for which nature has eminently fitted her, while she has a face and figure adapted to a score of other parts. Born in Halifax, of an old English family on her father's side, her mother being French the singer has numerous physical characteristics of the Latin blood—dark eyes which can flash many dramatic things, a pale clear coloring, the smooth oval contour and a charming mobility of expression. She talks extremely well, with variety and interest, and is the owner of a magnetic smile. In figure she is about the height of Calvé, not exactly slight but well rounded, and with a graceful and pliant carriage.
89"I will tell you frankly," she said, "to begin with, that I did not at first take my art as seriously as I might have done; and, you see, when first I went to Paris to study it was not necessary for me to sing in public. I drifted into it because my capacity was pointed out to me by prominent masters, among others Gounod and Massenet, and the fascination was irresistible. I accepted offers which I liked, incidentally, but did not really concentrate myself on the operatic stage. Now, however, I have made up my mind to keep the ground I have won, and go forward if possible. I have developed an enthusiasm for my art and the life and could not be happy away from it.
91"I went to Paris first to finish my education and then began vocal study with Mme. Lagrange. Later I studied with Marchesi. While with Lagrange Gounod heard me sing and suggested to me the stage. I had appeared at some prominent concerts and sung socially in the homes of some of the best musicians in Paris, who all encouraged me voluntarily. Just at this time Gounod wrote in a letter to a friend, who was also a friend of mine, his opinion of my voice and ability. It was shown to me, and I prized it so much, because it was written of his own volition, unsought, that I afterward asked him to copy it on a card which I might retain in my own possession. Here it is:
93"Gounod writes: 'Mlle. Nita Carretti possesses a charming voice, charming execution and a charming nature. She is the favorite pupil of Mme. Lagrange, and has sung several selections for me from Faust and Romeo, and I can well judge of her intelligence from the charming manner in which she has followed my advice.'
95'Of course this delighted me very much, and, as all Paris was very kind to me, my reputation traveled across the Channel. Sir Augustus Harris made a special visit to Paris to hear me, and after a Sunday afternoon concert, in which I sang, engaged me at once for England. I made my first appearance in opera at Covent Garden as Michaela in 1890. Yes, quite a dazzling appearance for a débutante, was it not? But I had excellent success. I repeated this one rôle to the end of the season, and then Sir Augustus Harris, who was president at the time of the Carl Rosa Opera Company, placed me there, where I sang the principal prima donna rôles of grand opera.
97'While with the Carl Rosa Company D'Oyly Carte made me an excellent offer, which I accepted, to replace Esther Palliser in The Gondoliers. My engagement was for fifteen months, and I returned to France.
99'It was then that I went to Marchesi and also applied myself seriously to the study of acting under Pluque, to languages, dancing and everything else which might help me in an operatic career. I studied closely a répertoire of thirty works, in which I am fully at home. My early appearance in England had shown me the experience I needed, and I determined to supply every deficiency.'
101'Among a hundred relics and mementoes, scraps of music, testimonials of friendship and admiration inscribed by celebrities in an album treasured by Mlle. Carritte, the longest is a cadenza signed "J. Massenet." "Yes," she said, "that was written for me by Massenet to introduce at the close of the gavot in Manon. Sibyl Sanderson did not sing the gavot here, but there is place for a brilliant cadenza, and this one is charming, and of course I am very proud of it."
103Mlle. Carritte's voice is what the French call "fortelegère," dramatic in quality, but with coloratura power. "The dramatic breadth," she said, "is a growth and increases every day. My voice was lighter at first, and I sang Michaela when I should not have thought of sustaining a rôle lying in the register of Carmen. Because of my appearance and a temperamental aptitude for the part, Carmen was urged upon me, and while I hesitated at first I afterward discovered that it has only aided the development of my mezzo soprano range, while in no way interfering with the brilliancy or facility of the upper."
105Carmen was Mlle. Carritte's significant success in England. Her engagement of last season with the Carl Rosa
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