Scan 7
Musical Courier 1896-09-16: Vol 33 Iss 863, 1896
86 lines. Read by computer on 21 September 2026. Printed page 8. 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.
1like 2-2 (alla breve) time, that is, so fast that the listener instinctively takes the half note as the rhythmical unit, instead of the quarter note, its vivacity of impression is largely diminished. You see, the alla breve beat (twice to a measure) of the very rapid tempo is really not nearly so fast as the 4-4 beat of the less rapid tempo; and it is the rapidity of beat that makes for vivacity of impression.
3The superior sadness or gloominess of the minor mode, compared with the major, has been much expatiated on. Schopenhauer once said that all popular dance tunes in the minor mode lacked true vivacity, and reminded him of dancing in tight boots. I wonder if Schopenhauer ever heard Rossini's tarantella, Già la luna, in A minor; I think that tune knocks his theory pretty well on the head.
5Perhaps the most irritating fallacy of all is the notion some people have—and persist in sticking to through thick and thin—that intellectual music is necessarily unemotional. I wonder what some people would say if musicians should all of a sudden turn round and attempt to apply the same rule to poetry, and try to prove that Shakespeare, for instance, was unemotional, because undeniably intellectual. The notion is as idiotic as that kindred one—that music written in a difficult and complex form must needs be uninspired and "mathematical." Let me try and turn the tables in the same way as before. The terza rima is—as I have been given to understand by experts—one of the most difficult of all poetical forms; yet the whole Divina Commedia is written in terza rima. Was Dante uninspired and "merely mathematical"?
7One more! How many people are there not who imagine that educated musicians don't like good "light" music! I wish some of the victims of this idea could have watched Prof. John K. Paine five nights running at Sullivan's Iolanthe, or seen the present writer go every night for a fortnight to Offenbach's La Périchole in London—and he hadn't lost his heart to Schneider either.
9Melody Infinite.
11It is often said that it is becoming more and more difficult to find original melodies because of the enormous quantity of music which has been composed for the last two centuries, and which is being daily written in the whole world. Genius itself, it has been thought, would become unproductive when all the combinations of arrangements between the sounds able to form a melody had been exhausted, and this day was at hand. I do not think so. Not for 200 years, but for 4,000 our world has existed, generation has succeeded generation, and there are hundreds of millions of human beings living at the present day. And yet how few resemblances there are among them. Between any two there is never complete identity; but there are always the same elements which constitute their physiognomies, and it is always with the same disposition, in the oval of the face, the mouth, the nose, eyes, ears, hair are placed.
13So it is with melody and with the comparatively few sounds which go to make it up; there are scarcely aspects common to an epoch, a school or a nationality. Melody is thus a creation, and there is in intellectual creation, as in all creation in this world, a mystery beyond our comprehension, some perpetual renewal due to its divine origin.
15In the anxious contemplations of the exhaustibility of melody certain factors seem to be left out of account. The possibility cannot be reckoned up by working out the number of permutations. The number of permutations of eight notes amounts to 40,320. Of course there would be many of them almost identical with others, but, on the other hand, every permutation might be varied infinitely by repetitions of notes and by the diversity of rhythm.—Le Ménestrel.
17Bohemian String Quartet.—The Bohemian String Quartet will be in America in the spring of 1897, during the months of March, April and May. They have been remarkably successful in Europe for the past few years, and are considered the finest organization of their kind. They will give quartet soirées in the largest cities of this country. In New York they will appear first in their own concerts and then in the March concert of the Symphony Orchestra.
19Orchestral Affairs in New York.
20Paper No. II.
21The first paper on this subject appeared in the September 2 issue of this paper.
22Editors The Musical Courier:
23SEPTEMBER 6, 1896.
24Being a constant reader of your most valuable paper, nothing of interest in the same ever escapes without being read by me.
25In your last number an article headed "Orchestral Affairs in New York" interested me to a great extent, as I happen to know the three gentlemen named therein, not to speak of the situation, which is described most justly, as my long experience in New York orchestral life enables me to express.
26I have (as you know, esteemed editor) partly withdrawn from the orchestral field, and only assist at a few leading concerts, like the Symphony and Philharmonic.
27I have had professional business dealings with the three gentlemen—Mr. Kayser, Mr. Bremer, and Mr. Bernstein—and for years I have been associated with them in the main orchestras in New York. To prove my total impartiality I state that I have never been employed through their influence, but on my reputation as orchestral player, and through the personal acquaintance of the conductors of our leading orchestras.
28The writer of the article Orchestral Affairs in New York is well posted, and evidently had some sort of experience with the three prominent orchestral managers in our city.
29His argument is, in my opinion, correct in most points, but by looking more deeply into the matter I hope to find the real cause of the sad orchestral circumstances in New York, and at the same time a defense for the three "brokers," as the previous writer expressed himself. In the first place the writer does not give to the three managers the credit which they deserve as musicians.
30Having played for years with Kayser, Bernstein and Bremer, I can state that they are musicians of the first order.
31Mr. Kayser (clarinet) bore for years the reputation as one of the first; Mr. Bernstein can hardly be surpassed as a tympani player, and Mr. Bremer plays the third horn part; not on account of incapability on his part, but because, as every musician knows, the first horn part cannot always be played by great horn players, nor can a great horn player always play the fourth horn part. Now, with such a good reputation as orchestral performers as these gentlemen have, is it surprising that the management of an orchestra is placed in their hands? It must be placed into the hands of some good musician; it certainly cannot be placed into the hands of a real estate or life insurance agent.
32Or should conductors like Seidl or Damrosch personally run all over New York in order to engage the musicians for their concerts, or place a sign in the headquarters of the union and be visited next day by 8,000 musicians!
33No; these affairs have to be placed in the hands of some manager, who in engaging an orchestra has as difficult a task to perform as can be thought of.
34This manager sacrifices his time to that; his ambition for the true art, in order to select as good an orchestra as he possibly can, makes enemies among the musicians.
35Now, if he in return for his work and influence receives percentage from musicians or an extra salary from the enterprising party, is this not fair?
36As to the "wealth" they accumulate, I can positively state that there is a question of being "well to do," but not of "wealth."
37Furthermore they have no right to engage for an orchestra whom they want to engage, but they are always directed by the conductor, like Damrosch or Seidl.
38Now to the point: Our orchestral concerts are without doubt far behind those given by the Boston Symphony or Thomas orchestra. Why? Not because their management is placed into the hands of Kayser, Bremer or Bernstein, but for the lack of financial interest taken by our moneyed people in New York.
39They are always willing to subscribe for a few concerts, even risk a few dollars, as long as the ship goes on a smooth surface; but if the ship is in distress nobody goes to its assistance, and the ship goes down.
40Is this not the reason why Thomas left New York? Is the financial interest taken in Boston in the Symphony and in Chicago in the Thomas orchestra not the cause of the flourishing of those two artistic rings?
41Why can Thomas or Paur command a rehearsal at any time they find it necessary to rehearse? Because they have the necessary funds to pay the members of their orchestras good salaries, which lead them to an independent position, enable them to study daily their respective instruments, and which allow them to concentrate their minds on one orchestra and on one leader.
42We have excellent musicians in New York and enough to form several orchestras, although it may prove a necessity to import a "chef d'attaque" for some instruments.
43When Walter Damrosch four years ago founded his orchestra on a solid foundation, paying good salaries and guaranteeing a long season, he had a big guarantee fund, which was put at his disposal by some wealthy patrons.
44With Brodsky as concertmeister, Hekking as solo 'cellist, Bour for oboe, Xaver Reiter for first horn parts, combined with the best orchestral performers that could be had in New York, he (Walter Damrosch), with an absolute control over the orchestra, with daily rehearsals, with the interest the members individually took in their leader and in the new enterprise, produced a result which was most promising. The public concerts in that season were of an absolutely high standard.
45I remember the remark I heard made by Tschaikowsky, the great Russian master, as he was conducting the New York Symphony Orchestra, while rehearsing one of his most difficult works: "It is wonderful how you gentlemen play that."
46But all these high prospects were allowed "to pass away" as soon as the guarantee fund passed away.
47The concerts still took place, but the salaries were reduced. The musicians, in order to protect themselves against the summer months, during which they cannot make their living, had to play at balls and parties before and after the Symphony concerts.
48What else could they do? Especially as the balls are better paid than Symphony concerts.
49Is it possible for a musician to rehearse ten times for one Symphony or Philharmonic concert for which he is paid $7?
50Is it possible to give Symphony or Philharmonic concerts of the first order with three rehearsals, lasting not more than two hours and a half each, as is the case in New York, especially when, as in our case, an orchestral body only meets six times in one year?
51These conditions can only be changed through financial interest taken by wealthy people, and by far greater interest for orchestral concerts taken in common by the general public.
52If a first-class orchestral musician can get a salary which enables him to live comfortably all the year he will gladly rehearse the works of great masters all day long, and will dread the name "ballroom."
53May we hope that there soon will appear in New York "somebody" as generous as that "somebody" that enabled the musicians of the Boston Symphony Orchestra to make it so famous.
54The orchestral material is in New York, but there is no practice in New York, and "practice makes perfect."
55HANS KRONOLD.
57Edgar Stillman Kelley.—Mr. Edgar Stillman Kelley, the well-known American composer, has been engaged by Mr. Lambert as special professor of harmony and composition for the New York College of Music.
58Mabel Lindley Thompson.—Miss Mabel Lindley Thompson has taken a studio at 9 East Seventeenth street. Miss Thompson, who is Rivarde's certified and highly recommended pupil, has resumed teaching in New York and Newark.
59Bertha Bucklin.—Miss Bertha Bucklin, violinist, appears at Johnstown, N. Y., on September 16 at a concert to be given in the Baptist Church of that city, where she will play the Capriccio Valse, by Wieniawski, and the Godard Cradle Song and Raff tarantella.
60Enrico Duzensi.—The well-known tenor Enrico Duzensi, after a successful career in Europe, came to this country six years ago, and has now, as vocal teacher and opera singer, opened a studio at 126 East Eighty-third street, New York, where he will give instruction in vocal teaching for church, opera or concert.
62SCHARWENKA CONSERVATORY OF MUSIC,
6335 EAST 62d STREET, NEW YORK,
64Formerly 37 East 68th Street. Near Madison Avenue
65Under the management of EMIL GRAMM.
66Prof. Xaver Scharwenka, Musical Director.
67All grades of musical students, from beginners upward to the most advanced, receive a uniform, excellent and systematic instruction in all branches of music. Eminent artists of both European and American fame are among the faculty. Fall Term begins Monday, September 7. Write for Catalogue and particulars. Students can enter at any time.
68N. B.—Reports have been circulated to the effect that Prof. Scharwenka does not reside permanently in New York. We wish to contradict this statement most emphatically, and to add that he has been and will continue to devote his time and attention to the interests of the Conservatory.
70ANTONIA H.
71SAWYER,
72Contralto.
73ORATORIO AND CONCERT.
74ADDRESS CARE OF
75Wolfsohn's Musical Bureau,
76131 East 17th St.,
77New York.
79RUBEN & ANDREWS' ARTISTS.
80Season 1896-1897.
81RUBEN & ANDREWS, 489 Fifth Avenue, New York,
82MUSICAL MANAGERS AND AGENTS.
83Messrs. Ruben & Andrews beg to announce that they have been duly and fully authorized to negotiate engagements and undertake the management of concerts, musicals and musical festivals for the following eminent artists: Mme. Merdier; Mme. Anna Buri; Mme. Rosalia Charlia and Mme. Clementine de Vere-Sapio; Mme. Lillian Blauvelt; Mme. Ruth Yebba; Mme. Margaret Macdonald; Mme. Torriani-Hutchinson; and Mlle. de Gier; Mme. Mantelli; Mme. Rosa Lisle and Mrs. Katherine Bloodgood. Mr. William H. Rieger; Mr. W. C. Towne, Mr. William Lavin and Mr. Orlando Harlow; Monsieur Plaon, Mr. Emil Fischer, Sig. G. Campanari, Mr. Carl E. Dufft and Mr. E. de Gogorza; Miss Maud Powell, the Listemanns and Mr. Rafael Jeffry.
84Negotiations with other great and prominent artists now pending will, when completed, be duly announced. For dates, terms and other particulars address RUBEN & ANDREWS.
85Telephone: 1873 88th. 489 Fifth Avenue, New York.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.