Scan 22
Musical Courier 1896-12-16: Vol 33 Iss 876, 1896
92 lines. Read by computer on 26 September 2026. Printed page 23. See the scan on archive.org.
1CHICAGO OFFICE THE MUSICAL COURIER.
2226 Wabash Avenue. December 12, 1896.
4AT last public and press are realizing that the Thomas Chicago Orchestra is no longer the famous band of years ago. This fact has been ventilated for some time past only in the columns of THE MUSICAL COURIER, but now the newspapers of Chicago are rousing from their lethargy, and last Saturday the following appeared in the Evening Journal:
6It was a comparatively slender and apathetic audience which listened to the Thomas concert yesterday afternoon. Gluck, Bach, Schumann, and Tchaikowsky did not prove to be drawing names, and those who went were not enthused.
8If the majority of the 2,000-odd persons who gathered at the Auditorium were more interested in contrapuntal composition, co-ordinating of harmonies and exhibitions of technic, and were less weak and human in their desire for something which talks to the inner spirit; if more of those assembled had wrestled by hours, days and years with the perversities of some musical instrument, instead of busying their lives with marrying, loving, and struggling for existence; if more of the listeners were endowed with hypertrophy of that segment of the cortex which gives note to aural impressions, instead of possessing a perceptive apparatus scarcely capable of distinguishing sharps from flats; if, in a word, the program provided melody suited to the wants of the people who pay for the seats, then the audience would not be apathetic; they would not respond to each number with perfunctory applause, and they would not wonder each why his neighbor enjoyed the music so much more than he. * * * The test of music is its ability to please—to move, to rouse the imagination.
10And after we have thus apologized we will be frank and confess that except in two brief sections the program did not please. * * *
12It might be mentioned that there has been some complaint over the refusal of the orchestra management to refund the price of seats bought for the advertised Rosenthal performance. Many who did not attend are of the opinion that they should have their money back. The management declines to refund any but the additional price charged on account of Rosenthal's expected appearance.
14Another paper had the following with regard to the same subject:
16Another plea for lost patronage is being made by the Chicago Orchestra. Again has the intimation been sent out that if the public will let bygones be bygones the management will see to it that there will be no hissing at the people in the upper galleries. Yesterday popular prices prevailed. Music worth $1.50 was given for 50 cents. The program was as classical as ever, but the prices weren't. The prices were not down to the tens, twenties and thirties, but they showed that tendency. The management is to be congratulated. The proof that it is not a bit stuck up, none too aristocratic for the hoi polloi, could not have been more convincing. The hoi polloi is all right. It was no fault of the management that the parquet patrons insulted the gallery occupants and the management wishes it so understood. Long live the hoi polloi, say the management. We love the hoi polloi. Our grandfather's coachman was of the hoi polloi, and appreciation is hereditary. Come to the Auditorium. Come and shriek and howl and whistle and stamp your brogans. Do as you please. Shoot paper wads at the gangs in the boxes. Make Theodore Thomas do a song and dance. Make the members of the orchestra play Hobbie de Hoy de Ay de Da. Make holy shows of yourself, only come! Come!! Come!!! Don't forget the price. It's a bargain.
18And in spite of all these concessions, in spite of the classical music, in spite of the slap at aristocracy, yesterday's matinee was remarkable for the broad areas of empty seats.
20It is truly lamentable.
22Moral courage will be a necessity on the part of those attending the first concert given by the Chicago String Quartet, December 22, if the present program is adhered to in its entirety. The proposed numbers are: Beethoven, quartet No. 4, op. 18, C minor; Schumann, quintet, op. 44, E flat, and Brahms, sextet, op. 18, B flat. Little short is it of a scandal to produce three such works in the short space of time at command. Only last Tuesday it was known that the personnel of the quartet had been suddenly changed, and two players, Boegner, violin, and Esser, second violin, taken in place of Krause and Wendel, the concertmaster. What does this denote if not incompetence? Here is a musician, concertmaster of what should be a great organization, totally unfit to lead the quartet which has been formed by persons interested in Theodore Thomas. It is denied that the orchestra has any interest in this quartet, but the denial counts for nothing against fact. Spite work, nothing but spite, is the foundation; this can be gathered from the statement made at the time of the quartet's initiation, that it was not formed for pecuniary gain, but all that was sought was the payment of expenses. Although the primary object of the musical profession may be to gain a livelihood, still evidently a little thing like money has no attraction for the Chicago String Quartet. It was thought, no doubt, to cheapen the work of the Spiering Quartet by the organization of a rival concern; but let us take heart. The result obtained by this clever, artistic company of players is a glorious beauty of style that no hastily acquired combination can hope to copy.
24* * *
26Steinway Hall looked its best Tuesday when the Mendelssohn Club gave the first of the series of three concerts. The work of the Männerchor was excellent, showing marked improvement on the work done last year. Harrison Wild is a clever conductor and has obtained some splendid results from his sixty voices, among whom are many of our best male singers. The attack was clear and decisive, the light and shade beautifully marked. Altogether the singing of the Mendelssohn Club was decidedly in advance of any choral work I have heard here. There was a will and spontaneity, a general good feeling seemingly prevailing to make the concert one huge success. The business arrangements of the club, too, have been thoroughly well handled, some one evidently has been indefatigably energetic, and a financial success is assured, judging from the full attendance. All was artistic, even the platform being attractive and exquisitely banked in flowers.
28George W. Fergusson, baritone, assisted the club. He has many friends and was most warmly received, but his singing was decidedly off color in the Pagliacci number and the French songs disappointed me, especially in Gounod's Pour la Chanter. Fergusson is a good artist, a first-class artist, but if he does not feel up to concert pitch he only damages his own fine reputation by singing.
30If ever sincere admiration and esteem were demonstrated, surely they were on Tuesday, when Max Bendix made his first public appearance for the season. As soon as he appeared on the platform applause long and loud greeted him; here was no make-believe, but the genuine, spontaneous welcome given to an artist whom Chicago has every reason to respect and honor. An evening paper, in speaking of his appearance, said tersely, but much to the purpose: "Chicago loves her Bendix in spite of her Thomas."
32I was certainly surprised at his performance; it was that of a great artist, not a mere virtuoso.
34A great violinist is entirely set apart from the so-called virtuoso. Max Bendix, from his performance on Tuesday at the Mendelssohn Club, showed that he was a consummate artist, and one for whom no difficulties exist. At one time Bendix, from his continuous association with the Thomas orchestra, was decidedly a cold player; but now, away from dogmatical routine, with time given to his own work, the sensitive and imaginative side of his art has become strong. Witness the perfection of dramatic intensity in the Hubay Carmen Fantaisie.
36His technic is astonishing; he has individuality and distinguished style. He is poetic, but without maudlin sentimentality, and the "Bravo! Bendix" which I many times heard was a fitting tribute to his powers. Mr. Bendix played an encore to the Hubay, and in the second part of the program Wagner's Albumblatt and Polonaise in D of Wieniawski.
38* * *
40There is one fault to find with the club's concert—the hall is not adequate for the choir's big tone; the concert begins too late, and therefore ends too late. The following was the program:
42Hymn of Praise …………………………………………..Herman Mohr
43Prologue, I Pagliacci ………………………………………Leoncavallo
44Mr. Fergusson.
45Carmen Fantasie …………………………………………..Hubay
46Mr. Bendix.
47Solo, Thanatopsis …………………………………………..Moszkowski
48Mr. Fergusson.
49Love's Rejoicing …………………………………………..Vossfar
50Soupir ………………………………………………………..Bemberg
51Sonnet'd' Amour …………………………………………..Thomé
52Pour la Chanter ……………………………………………Gounod
53Mr. Fergusson.
54Valentine …………………………………………………….Horatio W. Parker
55Three Words ……………………………………………….W. H. Veit
56The Chafer and the Flower ……………………………….Wagner
57Albumblatt ………………………………………………….Wieniawski
58Polonaise in D ……………………………………………..Wieniawski
59Mr. Bendix.
60Cavalier Songs ……………………………………………..C. Villiers Stanford
61Boot, Saddle, to Horse.
62King Charles.
63Kentish Sir Byng.
64Mr. Fergusson and the club.
66The Sherwood Club held the first evening meeting of the season on Tuesday. Mrs. Watson gave a delightful informal reception Wednesday, when two very talented and charming pianists, Mrs. Elizabeth Coolidge and Miss Veronica Murphy, played in the manner expected of Mrs. Watson's pupils. One always looks for the best and gets it here. Miss McTerney, an accomplished reader, gave pleasure to everyone by her clever interpretations.
68Mrs. Orwin H. Fox and Mrs. Osborne Reed had an enormous crowd at a studio tea Wednesday. Some exceedingly good music was heard, both vocal and instrumental, being much above the average. Grafton Baker, tenor, and Mrs. Erb, a fine soprano, were heard to exceeding advantage. Miss Hitch, a pianist of ability, played Chopin's A flat polonaise really well. I was told there were many other talented people assisting, but I arrived late and was unable to learn their names. Mrs. Fox looked very handsome and was rejoicing at the good work done by her pupils. She is one of our most successful and best known vocal teachers and is principal of the vocal department of the Chicago Musical College.
70Mrs. Regina Watson's latest lectures on French and Italian medieval music, which have involved such extraordinary study, can hardly fail to add to her already great reputation as a musician. Social Evanston was keenly alive to the benefit to be derived from hearing her scholarly and intensely interesting recitals, and attended the three lectures in large numbers. I have already told you of the lecture on folk song; it is now an additional pleasure to tell you of the emphatic success obtained at the lectures on French and Italian music.
72In the first lecture on early French music the growth and development of musical art in France was shown step by step from the Ambrosian and Gregorian chants through the delightfully quaint Troubadour songs, the intensely interesting ballet period, and most fascinating compositions of Lully, Couperin, D'Aguilu and Rameau, down to the time when Gluck was about to appear. Mrs. Watson contrived in a marvelous manner to crowd a mass of information into a forty minute lecture. There was an amount of research both historical and musical which only an artist and one of great intellect could give.
74The literary character of these lecture recitals is also very fine, and is of inestimable gain to musical students in having the result of such study put before them in so concise and clear a manner, as well as making them acquainted with some exquisite gems of piano literature very little known to musicians, and which really ought to be in every pianist's repertoire. An accompaniment during the entire lecture of the most interesting, beautiful compositions belonging to the various epochs of which the lecture treated was played in Mrs. Watson's inimitable way on both harpsichord and piano. She has been fortunate in becoming possessed of an exceedingly rare harpsichord, one which combines both harpsichord and hammerclavier, so that she was able to show in a direct manner the gradual development of the modern piano music during its last three stages.
76The Italian lecture is on a very high plane. It commences with Palestrina and goes right through the Renaissance in Florence, and the subsequent greatest period of Italian music from the sixteenth to the eighteenth century, is also beautifully shown by a long program of rare compositions of the various schools, both sacred and secular music.
78Mrs. Regina Watson plays these old compositions as only she can; they require a distinct style, a perfection of daintiness that I have heard very rarely; she is an artist of exquisite delicacy and refinement. The harpsichord proved a most interesting feature, the people crowding around in order to gain a closer view of the quaint old instrument. Mrs. Watson was the recipient of much enthusiastic, appreciative applause from a cultivated and enlightened audience.
80* * *
82Max Bendix plays at St. Joseph, Mo., December 25; Kansas City, Mo., December 26; Des Moines, Ia., December 28; Aurora, Ill., January 4; Princeton, Ill., January 5; Streator, Ill., January 6; Keokuk, Ia., January 7; Burlington, Ia., January 8; Mt. Pleasant, Ia., January 9; Quincy, Ill., January 11; Hannibal, Mo., January 12; Columbia, Mo., 13. A new soprano boy is at present being talked of considerably. He sings for the Amateur Club
84CAMILLA URSO.
85The Great Violinist.
86Supported by RUDOLPH VON SCARPA, Pianist; EDWIN DOUGLASS, Tenor, and CARLOTTA DESVIGNES, the famous Contralto.
87IN FEBRUARY by MISS MINNIE METHOT, Soprano.
88TOUR COMMENCED OCTOBER 12.
89Dates only available after January 9, 1897.
90FREDERIC LUERE, Manager.
91Address for dates, etc., GEO. W. HORNE, Business Agent, Decker Building, NEW YORK.
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