Scan 11
Musical Courier 1895-10-16: Vol 31 Iss 815, 1895
116 lines. Read by computer on 20 September 2026. Printed page 12. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1MUSIC SENT FOR CRITICISM.
3J. H. Schroeder, New York.
5SEBASTIAN B. SCHLESINGER, . Songs and Ballads.
6A collection of twelve lyrics by this well-known song writer attracts attention, and seems to invite criticism, although the productions are unpretending in style and not in any sense high flown or overambitious in aim.
8The accompaniments, for instance, are neither symphonic nor contrapuntal; nor on the other hand aggravatingly monotonous, either with regard to harmonies or figurations. The vocal melodies do not demand a large compass of voice or long sustained efforts on the part of singers, and yet may worthily occupy a place in the folio of artists. Whatever is to be done with reference to execution may be readily accomplished.
10For these and similar reasons amateurs may essay them, and hence one may well assume that they will become very popular. Being for different voices, and in some cases printed in more than one key, they suit the needs of all singers, and as the words do not offend prohibitionists or sectarians of any kind are reasonably sure of acceptance in society. The notation is clear and bold, and the paper being good the music sheets have an attractive appearance. But, unfortunately for the composer, the proof-reading has been so carelessly done as to leave inaccuracies that ordinary amateurs may not be able to rectify during performance. The chief fault, or rather the most common fault, is the omission of accidental sharps or flats and their cancellation signs during the progress of the music. Sometimes the intention is hardly discoverable, as in No. 10, system 2, bar 2, where cacophony results.
12The English language is strangely treated occasionally, grammar, especially with regard to syllabication and spelling, being faulty. The title pages have the sign of the possessive case over the word ballads.
14Such divisions as slee-ping, kee-ping and brigh-ter are made instead of keep-ing, sleep-ing and bright-er.
16Hyphens are omitted and sometimes inserted curiously, as in star-fi-res decay, for star-fires decay. I foresee and she wakens are given as I fare see and she wapens. Three times on one page the word fretful is spelled freatful, &c.
18Such gratuitous exhibitions of illiteracy may lead to the immediate rejection of some of these songs; hence it seems well to bespeak attention to their inherent worth, that they may not suffer and hearers lose the chance of making their acquaintance.
20Heine's Wenn Ich in Deine Augen Seh is a passionate strain for baritone voice, well sustained by richly glowing harmonies fully in keeping with the poet's intention.
22There, Little Girl, Don't Cry, is for mezzo soprano voice, and sung by Georgine von Januschowsky.
24Phil's Secret is a boy's song:
26I know a little girl,
27But I won't tell who;
28I'll marry her some day,
29But I won't tell when,
31and which, like Under the Nursery Lamp and The Race, is interesting not only as regards the subject matter, but also because of the way in which it is expressed. If such colloquialisms as "got beaten" appear as blemishes in art works it may be said that songs like these are intended to be as familiar in our mouths as household words, and therefore poetic refinements are not indispensable.
33Whatever view may be taken of such matters, it seems perfectly certain that the texts, whether regarded as fine poetry technically or not, have certainly strong claims to be regarded as true poetry from higher points of view.
35An author who should note the varying states of feeling in children and seize upon the particular moment when a smile trying to overtake a tear reaches the dimpled chin first, and employ only simple, childlike language in describing this, well merits the name of poet, especially if, as in The Race, he immediately reaches the secret springs of fine feeling and creates sympathy.
37The author's name is not quoted, hence it is fair to assume that the composer himself composed this poem.
39Published by
40G. SCHIRMER, New York.
41The Structure of Music.
42An Elementary Text Book on
43NOTATION AND HARMONY.
44By GEO. C. GOW,
45Professor of Music at Vassar College.
46Price $1.25 Net.
47Adopted by Vassar College, Smith College (Northampton) and other Music Schools.
49Dreams in Autumn has additional accompaniments for a Liszt organ. The Ballad Singer (words by Edward Oxenford, and German version by Helen Tretbar) is perhaps the most important contribution to this collection, and would suit good contralto singers well. Probably the most attractive song of the whole series at the first glance is The Lily, but should the accompanist merely play the notes he sees, irrespective of the evident intentions of the composer, it may be unhesitatingly condemned, for on the last two pages there are two, three or four mistakes in every bar except one. Even the final chord of D flat has either a B flat instead of an A flat or the bass clef should remain unchanged.
51The remaining songs are Tennyson's Break, Break, Break, with German version by Helen D. Tretbar; Little Boy Blue, Love Haunted and Hark to My Lute.
53Half these lyrics are about children or are suitable for them, and the others (excepting Heine's) are equally well adapted for general use in ladies' boarding schools and other institutions of learning where it is desirable that something other than love passion should form the subject of words to be proclaimed aloud, as in song. Healthful and refreshing sentiments, such as the desire for worthiness; a trust in future compensation for present pain; charity for the poor and friendless, &c., here find fitting expression in poetry and an equally good setting in music.
55Ed. Bote and G. Bock, Berlin.
57SEBASTIAN B. SCHLESINGER, . . Album Lieder.
58This is a series of six songs for a single voice with accompaniment for the piano, which forms op. 64, by the same composer. (German words only.)
59The copyright being held by J. H. Schroeder, New York, it will not be necessary to send to Europe for specimen copies.
61The titles are: Es Blüht ine Blume; Eil' Hin, Mein Geist; Im Garten Blüht' ne Blume, Der Wilderer, Die Gletscher Leuchten and Herstahnen. They are mostly short effusions, having the good characteristics pointed out in the preceding notice of twelve songs.
63The proof-reading, although not free from faults, is reasonably good, and whatever grammatical errors appear in the musical notation seem to be designedly made as concessions to poor players who prefer to see, say, a B natural rather than a C flat or other enharmonic equivalent.
65More than once before the earlier compositions of Sebastian B. Schlesinger have been found worthy of notice in this column. Anticipations will now be cherished that other works from his pen may be forthcoming and prove a pleasure to ponder and commend.
67Stanley Lucas, Weber, Pitt and Hatzfeld, Limited, London.
69SIG. STOJOWSKI, . . . . . . Quatre Morceaux.
70Four short and moderately easy piano pieces, forming opus 5 of the highly accomplished writer Sig. Stojowski, are here found published separately, and will prove worthy the attention of teachers. The berceuse (dedicated to Sir Charles Hallé) is melodious and well written, especially as regards the progress of the inner parts. There is no particular rhythmic or other design continuously carried out, in order to suggest the swing-swing or reciprocal motion of a bassinet, but a soft, sweet and slow suggestion of tones, which appear intended to give a sense of placidity and repose.
72The scherzo is at once seen to be a two part canon, although no verbal indication appears. The flowing and graceful motion initiated is well kept up to the close, and no angularities or awkwardnesses occurring, it is evident the rigidity of the form has not hindered the writer's flow of ideas. Instructors looking for pieces in which the left hand is required to imitate exactly whatever is executed by the right hand, and not only in a mechanically accurate manner, but with faultless expression, will prize this piece.
74Gondoliera is the title of a very pretty andantino con moto in six flats, which is in the accepted form and style of such pieces. The pedal signs are omitted, but if the sostenuto pedal be artistically employed this unpretending piece will prove very effective.
76The Mazurka is in C minor, and appears to challenge comparison with productions of the kind by Chopin; but the originality of the composer is seen in the way certain salient features of the principal melody are re-echoed by the inner parts; and especially in the employment of canonic forms of imitation in the portion usually known as the Trio. Here again the sense of freedom apparent deserves notice; for this betrays the hand of an artist having the requisite drill as well as inspiration.
78C. VILLIERS STANFORD, . . Six Irish Fantasies.
79These are not mere artistic arrangements of favorite Irish melodies, but original compositions for violin and piano by the celebrated English composer, Villiers Stanford. They are published separately in exceptionally good style and dedicated to Lady Hallé. The first, entitled Caoine (a lament), at once conjures up vivid recollections of Irish burial usages, dating probably from the time that Phoenicians colonized the country.
81Professional keeners or singing mourners began with the cainain, then followed the ullalu and afterward the goul; and these different phases were repeated in the same order during the vigil or wake, which is still observed among Irish Americans. Stanford's work reveals a highly passionate melody for the violin in D minor, somewhat in the style of an embellished adagio or lento, and has for middle part more sustained (cantabile) passages in a major key.
83The Boat Song is a sort of allegretto movement in C major, that requires no great executive ability, and will be found useful by teachers.
85The jig is a more elaborate structure in five sections, followed by an andante and coda. The often repeated consecutive fifths in the accompaniment give a quaint and characteristic flavor to the first two pages. They are in perfect keeping with the tonality used, and enable us to recall works of the olden time.
87The war song is an extremely strong theme in G minor, which rises and falls wildly throughout the range of three octaves in the violin part, and exhibits a state of mind bordering on frenzy.
89A certain maddening ferocity is also portrayed here in strains that technically are not bristling with difficulties, almost impossible to surmount, yet are marvels as regards characterization.
91Passion is at a white heat. Vigor and violence are suggested so markedly that the all idea of impotent rage is excluded. This piece illustrates well the marvelous success that has attended the efforts of modern composers to reveal soul states with a vividness hitherto undreamed of in any art.
93It is one of the most distinguishing marks of our time that side by side with materialism, which especially in the physical sciences looks for tangible or economic results, we find rapidly developing an art which in its higher walks is devoted almost exclusively to record emotions. The thought of being amiable and producing pretty tunes is frequently now set completely aside in favor of aims chiefly, if not entirely, devo'ed to the task of providing psychologists with tone pictures in which the supersensuous conditions of humanity may be viewed as in a transparency. The ruggedness and brusqueness, fire and energy of Mendelssohn's Song without Words in A minor, No. 23, is allied in certain particulars to this war song.
95The following hush song of course presents a marked contrast. The violin is muted, and the piano played with the soft pedal depressed. All is peaceful and calm; symmetrically formed and often repeated figures help to bring about a feeling of undisturbed repose.
97The finale is a reel in D major, forming a brilliant allegro movement, though not in the stereotyped mold of older masters. It is a free form and conceived in the true modern spirit. The violin is sometimes in 6-8 time, when the piano is in 2-4, and vice versa. Hence it serves as a fitting finale to the series should they be deemed mutually dependent. Professor Stanford appears to be as successful in such short pieces for chamber use as in projections of great magnitude suitable for national festivals.
99CAMILLA URSO,
100The World Renowned Violinist.
101"Asa violinist she's ands to-day a model for many of the virtuosi who have caught the popular ear."
102—H. E. Krehbiel in New York Tribune.
103Address,
104Luère & Horne's Musical Bureau,
105Room 74, Decker Bldg.,
106NEW YORK.
108NOW TOURING RUSSIA.
109FRIEDA SIMONSON,
110THE CELEBRATED
111Youthful Pianist.
112THE PRESS OF TWO CONTINENTS UNITE IN HER PRAISE.
113Toured with Patti, Melba, Albani and Sir August Harris' Operatic Concerts, London. American tour last season with Gilmore's Band.
114Address POTSDÄMERSTRASSE, 27 B.,
115BERLIN.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.