Scan 23
Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
106 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 24. See the scan on archive.org.
1thought the likeliest source from which it could have been adapted; but I have searched for it vainly in the one or two Italian musical treatises of the sixteenth century obtainable in the Bodleian; neither can I find evidence of it in any Italian (or French) dictionary.
3"Secondly, it is remarkable, as appearing in English literature suddenly, and, as it were, full grown. The very first example that I possess applies it figuratively. Richard Harvey, who intervened with a pamphlet called 'Plain Perceval,' in the word war between his brother Gabriel and Tom Nashe (1590), there says: 'All divisions frame with such long discords, and not so much as a concord to end withall, argues a bad ear and a bungling artist.' Next we find it in Shakespeare:
5It is the lark that sings so out of tune,
6Straining harsh discords and unpleasing sharps,
7Some say the lark makes sweet division, &c.
8—Romeo and Juliet, III. v.
10"And after this it is common in the dramatists, Ben Jonson, Marston and others. The following from Waller may repay quotation as describing an annoyance which many have felt:
12So others with division hide
13The light of sense, the Poet's pride:
14But you alone may truly boast
15That not a syllable is lost;
16The writer's and the setter's skill
17At once the ravish'd ears do fill.
19"Addressed to Lawes, the music composer.
20"Coming down to the eighteenth century, we find Sheridan, in the Critic, speaking of 'signors and signoras, gargling glib divisions in their outlandish throats.' Burney also, in his History of Music, prints specimens of the 'divisions' performed by some of the great singers of his time; their 'bravuras' or 'roulades,' as we should say. But by this time the word was dropping out of use."
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24Bruno Oscar Klein is a most sympathetic musical individuality for me. I have been playing his new set of eight pieces for piano, little gems that Schumann would have been delighted to read. They bear titles, appropriate titles, and there are two valse that you must play—simple, poetic, passionate. A vein of romanticism runs through all, and you hear faint echoes of Schubert, Chopin, Schumann. I can recommend this set to young players who have been technically overtrained. They will be admirable antidotes to Czerny, Hummel and Clementi. Mr. Klein's new Italian suite, consisting of a prelude, canzonetta, minuetto and tarantella, is stronger food for brain and fingers. But it is all clear, charming, unaffected, and the composer has the courage of his counterpoint. I shake you by the hand, Mr. Klein.
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28What shall I say to you that will be seasonable—a Merry Christmas or a Happy New Year? How banal, how burdensome are these paragraphic, parroting, annual remarks! Have you spent the year well; have you grown wiser, nobler and more master of that curious, complex, multiple group that you call your own? To hear me preach would be exquisite fun, would it not? Yet I cannot forbear asking, as the curtain slowly falls on old 1895, what is the use of all this pother about art?
30We go into frenetic conditions because Calvé enacts a mad woman in the manner of Massenet or the manner of Thomas. Why? Paderewski hypnotizes us with his lingering legato art. Why? Why, why, should we so crazily endeavor to escape our normal environment to shut out, forget, the sweet daylight, the brave singing, blazing sun and the west wind (when it doesn't blow from the east)? Alas, I am a bad riddle master, and I have to-day what the Germans so unhappily call a "moralische Katzenjammer," and that, too, before my Christmas dinner! I wonder, after all, if art in its most potent and lovely shapes is not dangerous? I wonder if the normal man and woman who tread not the primrose path, but the straight, rugged way, do not see life with the larger vision! Wordsworth, in that supreme sonnet, The World, describes its dangers. Are not we "laying waste our powers, getting and spending" too much on this alluring phantom, art?—a phantom that you never overtake, that beckons you to dizzy heights, then takes mocking departure.
32Oh, how must it feel to master this monster, as did Flaubert, as does Swinburne, as do Joseffy and Paderewski! To ride it at your own sweet will, and, as in Paderewski's case, turn it to minting round, bright dollars for you! How glorious must it be to get up at dawn (11.30 a. m. of course) and cry:
34"I am an artist! I have the greatest voice in the country!" and then send down word to Henry Wolfsohn that you are too busy to see him!
36Fancy defying Wolfsohn! That of itself is one of Ibsen's "joys of life."
38If I were Paderewski I would smash my private chaplain's eyeglasses every day, and say: "Goerlitz, go to the bank for $50,000 in specie, I want to play poker by myself this afternoon." And Goerlitz would go without those mysterious blue spectacles of his. He had to select that color, you know, because Dr. Knapp warned him two years ago. You see, Goerlitz counts box office receipts, and the gold and green are very trying to the eyes.
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42O du lieber Augustin! What's the use of sorrowing? Lots of pretty girls, music and gas bills!
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46Seriously, if one can be serious when one is growing old at the rate of 365 days in the year, do you feel that you are a better boy or a better girl than this time a year? Or do you measure time by technic or by money earned? I call that man happy who has never heard Beethoven, for his happiness is to come.
48What a wretched, dun-colored life it would be without music! So sound the sackbut, sound the shawm, and with rebeck and cithern "do" the Tenderloin precinct and get arrested for disorderly behavior. If you can't be Jean de Reszké, why, be his equal, for you may enjoy his art as much as he does. Cry aloud as did the fiery Victor Capoul in his time of gay youth: "A moi, à moi, mon beau, mon beau!" What the dickens is the rest? Albert Steinberg knows. Mais c'était beau!
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52Some phonetic fiend sent me a letter the other day addressed "Shamus Hanuchah." It's a lie, I'm Irish. Erin go Bragh and likewise Eljen, vodka and paprika and Tschaikowsky, Daniel O'Connell or death! Farewell until next year!
54A Parcello Recital.—Mlle. Parcello will give a song recital at the Hotel Waldorf on Friday afternoon, January 10, assisted by eminent artists.
56Murio Celli Musicale.—A musicale was given on Tuesday evening, December 17, by Mme. Murio Celli d'Elpeux, at her residence, 18 Irving place, when Mme. Celli's pupils, Miss Rose Gumper, Miss H. Wallian, Mrs. Beatrice Hunter, Miss Schakman and Miss Eleanore Broadfoot, were assisted by the following artists: Mme. Murio Celli and Sig. Baraldi were at the piano; Mme. Marie Engle, prima donna soprano; Mme. Attalie Claire Kayne, soprano; Mr. Victor Clodio, tenor; Sig. Clemente Bologna, basso; Sig. Pizzarello, pianist; Mr. Hild, violinist.
58Another Albertini-Linde Success.—The Nashville, Tenn., Banner, speaking of the concert given by Albertini, violinist; Rosa Linde, contralto, and Clementino De Macchi, pianist, writes:
60A musical treat was the concert last night at Watkins Hall, with the Spanish violinist, Albertini; Mme. Rosa Linde, contralto, and Clementino De Macchi, piano virtuoso, as principals, assisted by and given under the auspices of the Jesse French Orchestral Society. Mme. Linde has undoubtedly a splendid voice, and her program numbers, together with the numerous encores the audience compelled her to respond to, showed her voice to full advantage. Her first number was the most difficult of the three arias from Samson and Delilah, and was rendered as only an artist of ability can render such a song. Besides the Amour Viens Aider, of Saint-Saëns, her program numbers were Ave Maria, from Cavalleria Rusticana, and a Spanish love song by Chaminade. Among her encores were Godard's Florian song, Reinecke's Frühlings Blumen and Trotere's In Old Madrid.
62While Mme. Linde is known as a contralto her voice has a range as high as many sopranos, and the highest tones are equally as musical and powerful as the low chest tones. In Old Madrid the middle tones were used throughout the first part of the verse until she came to the serenade refrain, when her voice dropped just an octave lower, rising again to the high B flat at the last.
64Equally as good in his part of the program was Rafael Diaz Albertini. His first three numbers, Beethoven's Kreutzer Sonata, the Mendelssohn concert and Rondo Capriccioso, by Saint-Saëns, are three masterpieces for the violin, and his interpretation of each was thoroughly satisfactory. The soulfulness and magnetism displayed carried his audience with him. Besides the three numbers mentioned he also played the E flat nocturne of Chopin arranged by Sarasate, and Legende and Airs Russes by Wieniawski.
66The young Italian pianist De Macchi has been in America since August. He played Liszt's Second Rhapsodie, a ballade, and nocturne of Chopin, beside encores. The Rhapsodie has been played here many times, but seldom has it been heard with such a correct interpretation. The technic displayed was superb, and each of the other numbers he gave showed correct interpretation.
68"OPERAS IN NEW YORK"
70THERE was a double bill at the opera last Wednesday night. This was it:
72LEONCAVALLO'S OPERA, PAGLIACCI.
73Nedda…………………………………………………Mlle. Lola Beeth
74Tonio……………………………………………………Sig. Ancona
75Silvio…………………………………………………….M. De Vries
76Peppe……………………………………………………Sig. Vanni
77Canio…………………………………………………..Sig. Russitano
78Conductor…………………………………………..Sig. Seppilli
80Followed by the second performance in America of
81MASSENET'S OPERA, LA NAVARRAISE.
82Araguil…………………………………………………M. Lubert
83Garrido…………………………………………………M. Plancon one of two readings
84Garrido……………………………………………….M. Plancon one of two readings
85Remigio……………………………………………….M. Castelmary
86Ramon…………………………………………………M. Mauguire one of two readings
87Ramon……………………………………………….M. Mauguire one of two readings
88Bustamente…………………………………………..M. De Vries one of two readings
89Bustamente…………………………………………M. De Vries one of two readings
90Anita……………………………………………………Mlle. Calvé
91Conductor…………………………………………..Sig. Bevignani
93There is but little that is pleasant to be written of this first performance of Pagliacci. Russitano was a sorry substitute for De Lucia, whose vocal and histrionic intensity we all so gratefully remember. The little Russitano is simply overweighted by the rôle. He was earnest to a deadly degree, but fell far short of the requirements of the part. His solo scene at the close of Act I. was inadequate and his "commedia finita est" almost ludicrous. Lola Beeth dressed for the mimic performance as if she were about to enact Manon. She was stiff in her movements, but looked pretty and fresh. She sang much better than at any of her previous appearances, but the ballatella was shaky. Vanni sang the Harlequin song off pitch and De Vries was a coarse Silvio. Ancona had the evening's success and had to repeat part of his solo in the prologue. The chorus sang lustily, but it was as a whole rather a dispiriting performance. Why doesn't Emma Calvé sing Nedda? She has done so in London, and judging from her work in L'Amico Fritz her touch would certainly be light enough. Cremonini too should be pressed into service at once as Canio. With his fresh young voice and vigorous methods he ought to prove successful in the part.
95Signor Seppilli's conducting was rather coarse. His band was much too noisy.
97Calvé again created a marked impression as the crazy, love maddened Anita. Massenet's febrile and clattering music sounded worse than ever, and the house was a very cold one. Novelties of this sort evidently do not obtain in New York.
99There were disappointments in store for the subscribers to the first special matinée of the series of German operas last Thursday. Jean de Reszké, Nordica and Brema were all three indisposed, and Herr Wallnoefer, Januschowsky and Oltiza filled their respective places at a few hours' notice. The audience was not large, nor can it truthfully be said that the Tristan was a commanding figure. But Wallnoefer is an earnest singer, and he certainly sang his best. His acting was unilluminated and conventional. Georgine von Januschowsky surprised her auditory by her impassioned acting and singing of Isolde. She more than justified all the good things we heard of her from Vienna. She was dramatic, and while her Isolde is lacking on the tender, poetical side the vigor and musical breadth of her interpretation are admirable. Oltiza was an excellent Brangaene. Her voice and style are well suited to the part. She created a marked impression. Edouard de Reszké was again a superb Marke, and Kaschmann a trusty Kurvenal. Mr. Seidl conducted.
101Friday evening a large house was attracted by Calvé in Carmen, and at the Saturday matinée Faust was repeated with Mauguire as Faust instead of Jean de Reszké, who was still ill. Nordica was in fine voice. The mechanism of the organ became deranged in the church scene, and for a minute matters were serious. In the evening at the popular performance Lohengrin was sung, with Cremonini, Lola Beeth, Mantello, Ancona and Plancon in the cast. The young tenor was rather out of his depth as Lohengrin, but he struggled bravely, and when he can forget his vocal mannerisms he will be better. As a dramatic figure his Knight of the Graal was badly composed. The performance was a creditable one. Mr. Seidl conducted.
103Last Monday evening Tristan and Isolde was given by the De Reszkés, Nordica, Brema and Kaschmann. Seidl again conducted.
105The program of opera for the week is as follows: Mon-
The computer misreads some letters and numbers. Where a name matters to you, read the scan.