Scan 8
Musical Courier 1896-07-01: Vol 33 Iss 852, 1896
130 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 9. See the scan on archive.org.
1surprised and shocked, and addressing the innocent artist he exclaimed, "Sir! you are an impostor, a cheat and a deceiver! Last night I attended your concert, at which you were represented as totally blind, and here I discover that you can see more than I can." It seems that the concert party had passed over the same road the day before, and when the coach stopped as usual at the tavern to water the horses Mrs. Heine had enthusiastically described the location. The blind violinist, unusually susceptible to such influences, had remembered the location and repeated literally his wife's description. Mr. Skinner, the agent of the Heines, undertook to explain the phenomenon, but he could not wholly satisfy the good prelate, whose experience had never gone beyond the boundaries of the five normal senses.
3The advent of Moreau Gottschalk in San Francisco was an important musical event. Miss Simonson, the vocalist, and her husband, Signor Muzio, came with the pianist. They gave ten or twelve concerts with tremendous success, and Gottschalk was the lion of the day. Though commonly classed as a brilliant player he knew his Bach, Beethoven and Chopin thoroughly, and to me his pathetic touches were the most remarkable. Gottschalk was also an original and a fine harmonist; witness his paraphrase of the Battle Cry of Freedom. But he came at a time when classic music did not interest the people, and so he gave them what he thought they would appreciate.
5At Gottschalk's last concert in San Francisco he arranged the Soldiers' Chorus from Faust for ten pianos. Among the assisting musicians was a clerk in Gray's music store, who posed as a pianist. If you inquired at the store for a piano composition, no matter how difficult, he would say, "Yes, we play it in here." But when the march for ten pianos was well under way at the concert Gottschalk called out, "Stop that piano!" The blunderer proved to be the young man of the music store, whose repose had forsaken him in the midst of so much glory. Even this fiasco did not wholly cure him of his conceit, for long after that I inquired for Gottschalk's arrangement of William Tell, and was amused to hear the old legend, "Yes, we play it in here." I told him I never expected to play it, but intended to frame it in my music room as a curio. Soon after his departure from California Gottschalk died very suddenly near Rio de Janeiro, in Brazil, while performing his last composition for the piano, La Mort.
7In 1866, at a place called Le Ranch, I made a crude attempt at formulating my system of musical theory. After systematizing this work it was published as Goodrich's Analytical Harmony.
9In 1868 I left California for New York, armed with letters of introduction from Madame Bishop to S. B. Mills, H. C. Watson and Gen. Wm. Hall, of your city, all of whom received me very kindly in behalf of the eminent cantatrice.
11We were six months en route from St. Louis to the Sacramento Valley in 1849. In 1868 we passed from San Francisco to New York in eighteen days, via Panama and Colon. At the present time one may journey from St. Louis to San Francisco in ninety hours. Here I must bring these rambling notes to a close, for the comparisons make me feel like an antiquary.
12A. J. GOODRICH.
14Cincinnati College of Music.
16THE catalogue of the nineteenth academic year —1896-7—of the Cincinnati College of Music has just been issued, and presents an extremely interesting survey of the plans and progress of this important institution. The pamphlet is interspersed with portraits of Reuben R. Springer, the founder and principal donor of the college; George Ward Nichols, its first president; Peter Rudolph Neff, its present president; Frank Van Der Stucken, dean of the faculty, and the following members of the faculty, most of whom are included in the board of examination: J. A. Brockhoven, theory; Albino Gorno, piano; Lino Mattioli, voice; Signorina Tecla Vigna, voice; Armin W. Doerner, piano; Miss Lillian Arkell, organ; José Marien, violin; R. Schliwien, violin; W. S. Sterling, voice; A. J. Gantvoort, theory; Nicholas J. Eisenheimer, piano; Virgil Alonzo Pinkley, elocution; Hans Seitz, voice; Romeo Gorno, piano. one of two readings
17THE catalogue of the nineteenth academic year —1896-7—of the Cincinnati College of Music has just been issued, and presents an extremely interesting survey of the plans and progress of this important institution. The pamphlet is interspersed with portraits of Reuben R. Springer, the founder and principal donor of the college; George Ward Nichols, its first president; Peter Rudolph Neff, its present president; Frank Van Der Stucken, dean of the faculty, and the following members of the faculty, most of whom are included in the board of examination: J. A. Brockhoven, theory; Albino Gorno, piano; Lino Mattioli, voice; Signorina Tecla Vigna, voice; Armin W. Doerner, piano; Miss Lillian Arkell, organ; José Marien, violin; R. Schliwen, violin; W. S. Sterling, voice; A. J. Gantvoort, theory; Nicholas J. Eisenheimer, piano; Virgil Alonzo Pinkley, elocution; Hans Seitz, voice; Romeo Gorno, piano. one of two readings
19The educational scheme of the college is absolutely comprehensive, embracing all the outer phases of art in language or literature which may be considered in relationship with music. The systems printed to be pursued in the different grades of the various departments, instrumental and vocal, are most judiciously conceived, and the test examinations for the bestowal of diplomas are of a solid structure and significance. No branch conducive to the perfect understanding of music as an art to be sung or played is omitted in the Cincinnati College of Music course, and any student who has passed that course and reached the stage where they may earn a diploma can justly be considered the possessor of a sound and liberal musical education.
21The arrangements for students' weekly recitals and for concerts by the students' orchestra and chorus, the latter under the direction of the dean of the faculty, Mr. Van der Stucken, are excellent. There is also given a series of public recitals by certificate and diploma pupils during the month of June at the close of each academic year, which forms a candid and reliable exposition of the work achieved in the college up to the period of graduation. The next academic year begins on September 1, 1896, and ends June 30, 1897.
23The college has established a training department for teachers of music in public schools, which ought to exercise an exceedingly valuable influence. This is now being supplemented by what is called a "popular music class," which will convene for the first time on Tuesday evening, October 6, 1896, at 8 o'clock, and continue to meet weekly thereafter. This class is inaugurated to meet an increasing demand for the acquirement of a knowledge of music, particularly the ability to sing at sight, among the numerous people whose employment prevents their entering on any systematic course of music study during the day time. The work in this class will consist of a thorough comprehension of the elementary parts of music and the practice of sight-singing.
25The Cincinnati College of Music has established itself a potent centre of cultivation, with an influence extending further and deeper as time goes on. It has neglected no occasion wherein a step of energy might possibly accomplish an eventual advancement in the cause of musical art. It sows yearly a large and valuable harvest, which is fast spreading itself throughout the various States of America, diffusing as it goes a wider taste and appreciation of the art of music.
27The past work of the college calls for congratulations, and it has the best wishes of the whole progressive music world for its future.
29Saint-Saens Jubilee.
31THE most striking scene in the late Saint-Saens jubilee celebration in Paris (an account of which appeared in our last issue) was when the veteran composer stepped to the front of the platform and read the following naive and touching verses which he had written for the occasion. They breathe profound filial affection, and were received with frantic applause:
33Cinquante ans ont passé, depuis qu'un garçonnet
34De dix ans, délicat, frêle, le teint jaunet,
35Mais confiant, naïf, plein d'ardeur et de joie,
36Pour la première fois, sur cette estrade, en proie
37Au démon séduisant et dangereux de l'art.
38Se mesurait avec Beethoven et Mozart.
39Il ne savait ce qu'il faisait; mais une fée
40Que plus d'un parmi vous aura bientôt nommée
41Savait, voulait pour lui, le menait, par la main
42Vers le but désiré, dans l'austère chemin
43Du travail, du devoir. L'incomparable femme
44Avait depuis longtemps décidé dans son âme
45Que son premier enfant serait musicien.
46Ignorant si c'était un mal plutôt qu'un bien,
47Toujours elle y pensait, fidèle à sa chimère;
48Mais qui pourrait combler tous les vœux d'une mère?
49Seul, un pâle reflet, de ce monde enchanté
50Qu'en un songe de gloire elle avait enfanté
51Vint m'éclairer. Pourtant elle a, dans sa vieillesse,
52Me voyant, grâce à la maternelle faiblesse,
53Tout autre que l'était, pu croire que le songe
54N'appelait pas toujours pour rime le mensonge.
55Que ceux qui l'ont connue aux autres veuillent dire
56De quels rayons divins était fait son sourire!
57Un demi-siècle! en quoi? c'est donc si peu de chose!
58C'était hier? je vois ici la foule rose,
59Maëder, Stanat, mes professeurs, Tilman,
60Le chef d'orchestre aimé; de l'applaudissement
61J'entends encore le bruit, qui, chose assez étrange,
62Pour ma pudeur d'enfant était comme une fange
63Dont le flot me venait toucher: je redoutais
64Son contact, et parfois, malin, je l'évitais.
65Affectant la raideur, la froideur simulée.
66Innocence première à jamais envolée!
67Depuis, j'ai par malheur écrit des symphonies,
68Des œuvres tout à tour triomphantes, hontées, one of two readings
69Des œuvres tour à tour triomphantes, hontées, one of two readings
70Comme il convient. La mer n'est pas toujours clément;
71Aujourd'hui c'est l'azur, demain c'est la tourmente.
72L'art est comme la mer, changeant, capricieux.
73Il nous mène aux enfers; il nous montre les cieux;
74On y voudrait grimper: on tente l'escalade;
75Quand, après des efforts à se rendre malade,
76On croit franchir la porte, à nos yeux étonnés
77La porte se referme, on s'y casse le nez.
78On en prend son parti: la muse enchanteuse
79Nous console de tout avec une caresse!
80Que vous dirai-je encore? Je n'étais qu'un enfant
81A mes débuts, trop jeune alors, et maintenant
82Trop… non! n'insistons pas. La neige des années
83Est venue, et les fleurs sont à jama s fanées. one of two readings
84Est venue, et les fleurs sont à jamaïs fanées. one of two readings
85Nagerie si légères, mes pauvres doigts sont lourds!
86Mais, qui sait? au foyer le feu couve toujours;
87Si vous m'encouragez, peut-être une étincelle,
88En remuant un peu la cendre, laira-t-elle.
90Cologne.—In the last Gurzenich concert the Parisian pianist Henri Falcke scored an immense success with Saint-Saëns' concerto and several pieces of Schumann and Chopin.
92Gustav Siehr.—The sudden death is announced at Munich of Gustav Siehr, the eminent Wagner singer. He sang the rôle of Hagen at Bayreuth in 1876, and afterward became famed as Gurnemanz and Pogner.
94Theodor Schmidt.—The Royal Berlin Court Opera singer Theodor Schmidt celebrated June 1 his twenty-fifth year of service in that house. After three years at the City Theatre, Leipsic, he appeared at the Berlin Opera in 1871 as Luna in Trovatore, Valentin in Faust, and Nevers in the Huguenots, and was engaged permanently by Herr von Hülsen, making his débuts as Figaro in the Barber of Seville, and the Jäger in the Siege of Granada. Up to date he has appeared 3,000 times on the Berlin opera stage.
96Comédie Française.—The Grave Digger's remark in Hamlet, "Your tanner will last you seven years," has created great trouble owing to the fact that M. Faure, the President, was once a tanner, and that the term of the presidency is seven years. The actor was therefore ordered to say "eight" in place of "seven" years. Unfortunately he forgot to make the change and stuck to the text, to the great amusement of the public. Since this misadventure the line and some following ones have been omitted.
98Scandinavia.—Capelmester Johan Svendsen, who recently conducted some orchestral concerts at Monte Carlo, is at present dangerously ill at Copenhagen.
100A new opera in three acts, entitled Dyveke, the libretto by Mr. Einar Christiansen and the music by Mr. John Bartholdy, will be brought out next season at the Royal Opera in Copenhagen.
102At the last concert given by the Musikforeningen in Copenhagen, Wagner's Parsifal was performed.
104The Philharmonic Orchestra, from Berlin, under the conductorship of Professor Mannstaedt, has given several successful concerts in Sweden, Christiania and Copenhagen. While in the latter city the orchestra gave a so-called Grieg concert, at which only compositions by Grieg were played, under the direction of the composer.
106A correspondent to the Stockholm Music Tidning, who was present at this concert, writes as follows: "Edward Grieg has aged much lately. His small figure is very thin and bent, and his long hair is quite gray; in fact, he looks much above sixty years, although he is only fifty-four years of age. When Grieg appeared on the platform to wield the bâton he received quite an ovation. One enthusiast among the audience shouted, 'Long live Grieg!' to which another replied, 'This wish is not necessary, for Grieg will always live among us.'" The correspondent adds: "I think the latter enthusiast is right, because Grieg's music will be heard at our concerts here long after the genial composer has joined the great majority."
108A new musical paper entitled Ninon has lately been issued in Copenhagen by Mr. Carl Ewald, and as there is not at present any other musical paper published in the Danish capital Ninon should be a success.
110A grand singing festival took place in Christiania at Whit-sundtide. Several concerts have been given with great success, at which a male chorus, numbering 1,400 voices, have performed Scandinavian music.—Musical Times.
112Hamburg-Altona.—The reports of the season from September 1, 1895, to May 31, 1896, show that the repertory of the united theatres comprised sixty-four different operas (of which nine were classical), two oratorios and various concerts. Nine operas and one ballet were new.
114A Bach Organ.—The organ at Arnstadt in Thuringia, on which J. Seb. Bach played from 1703 to 1707, is falling to pieces and a committee has been formed to procure funds for its restoration.
116Mexico.—There is considerable dissatisfaction felt in the city of Mexico respecting the National Conservatory, and lovers of music are at present endeavoring to create a free and gratuitous conservatory, independent of the official institution, which it is hoped will produce more brilliant results.
118Bologna.—The Bolognese section of the Wagner Society is about to sever its connection with the central society and to form an independent Wagner society with a view to reproducing in succession all the masterpieces of the composer.
120Athens.—Spiro Samara, the composer of Il Martire, is endeavoring to form at Athens an orchestra of 100 members to promote the culture of music. The artists will be chosen from France and Italy. When the orchestra is fully organized a grand chorus will be formed.
122Lortzing.—On the occasion of the jubilee anniversary of Lortzing's Waffenschmied the Berlin admirers of the composer laid a fresh wreath on his grave in the churchyard of St. Sophia. The monument on his last resting place was erected in 1859 by the members of the Brunswick Court Theatre, and bears a likeness of the composer and an inscription:… so hidden from view by ivy as to be almost illegible, containing the following lines.
124Sein Lied war deutsch und deutsch sein Leid,
125Sein Leben Kampf mit Not und Neid;
126Das Leid flieht diesen Friedensort—
127Der Kampf ist aus—sein Lied tötet fort!
129Venice.—The second centenary of the birth of the painter Tiepolo (1696) was celebrated by a grand concert in the Fenice Theatre, Venice, under the direction of Enrico Bossi. —A new singer, Angelina Manarini, appeared with great success at the Malibran Theatre in Gounod's Faust.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.