Scan 17
Musical Courier 1896-12-23: Vol 33 Iss 877, 1896
75 lines. Read by computer on 26 September 2026. Printed page 18. See the scan on archive.org.
1Rupert Hughes Replies.
2Editors The Musical Courier:
3SINCE Douglas H. Stewart, M. D., has written an "open letter" to the editor of Godey's Magazine through your columns, may I use the same universal post-box for a reply? Without making any communication to the editor of this magazine Dr. Stewart has genially rushed into print to inform my indulgent publishers that their contributor is a gross ignoramus. But I must insist that the evidence he adduces does not substantiate his denunciations.
5Dr. Stewart says that he has been asked to write "a series of articles answering" my series of biographical critiques of American composers. I am glad that my modest effort to widen the recognition of native writers has provoked so much attention, though I can't say that I have heard the loud yells for a Stewart to make reply. But I am to be deprived of the distinction, it seems, for the braw Scot "lacks the time necessary," which is a canny way of saying that he has a good practice. I might borrow his shrewdness and advise your readers to peruse my guilty article. But to take up his points of attack (though, unfortunately, it takes so much more room to defend than to accuse):
7"Mr. Hughes states that a composition is written 'in six flats and five sharps.' No well informed critic would make such a comment, as almost the first thing taught a pupil in music is the names of major and minor keys. Six flats may be the signature of G flat or E flat minor, five sharps of B or G sharp minor, and it is impossible from the context to tell which is meant."
9Dr. Stewart might have had the decency to assume that I knew the names of the keys. He should have had the primitive comprehension to understand the meaning of my expression. The introductory thesis of my article on the compositions of Homer N. Bartlett was the reasonable enough claim that the worst of all sorts of trash is brilliant trash with difficulties in the way of execution. I said of a certain over-popular work, that while it "has a French name, is written now in six flats and now in five sharps, and while it glitters with much tinsel, these three qualities, instead of redeeming it, only emphasize its musical worthlessness." It would have been bold pedantry to mention key names in a work appealing, like all these articles, untechnically to a popular audience. I saw no need of parading an elementary knowledge of signatures and relative minors, and I was not endeavoring to describe the tonal structure of the piece; only its elaborateness.
11The ability and the willingness to quote with due honesty to the context are inherent in few commentators. Dr. Stewart is not one of the glorious few. Having garbled my meaning he misquotes the Encyclopædia Britannica. In speaking of a florid bit of writing I spoke of the composer's "out-Heroding Chopin in bravura," so Dr. Stewart, in order to combat the truism that Chopin was given to throwing in ornaments of the greatest brilliance, rushes to that refuge of the amateur, the British Encyclopædia, and effaces my metaphor by solemnly quoting a statement that Chopin was "the negation of bravura." But the Encyclopædia was itself quoting the opinion of "an amateur" on Chopin's style, not of composition, but of piano playing! Since he is so eager for authorities, he will find the Cyclopædia of Musicians referring to Chopin's "immense brilliancy" as an executant, and Schumann calling him "a bold, stormy tone poet."
13Next our slashing surgeon says: "The writer alludes to a similarity between the Prelude and Chopin's Funeral March. I take it for granted that Mr. Hughes has fallen into the error of calling the third movement of the second sonata, op. 35, by the name of Chopin's Funeral March."
15The author is evidently of those lovers of cant that think it unseemly to refer to well-known works of art by their popular names. But in writing a popular musical article I should always prefer calling the Moonlight Sonata or Mendelssohn's Spinning Song by the names that suggest their whole nature to the general reader to heaping up the opus numbers and the key. So here I referred to the piece that is universally known and revered as Chopin's Funeral March. I was not unaware that it was one of the movements of a sonata any more than I am ignorant that Beethoven's Funeral March on the Death of a Hero has a similar frame. As to the similarity of this work to Mr. Bartlett's prelude, which Mr. Stewart flatly denies, I can only flatly reiterate the charge of reminiscence and leave it to the reader to decide for himself.
17These three foolish charges are all the proofs of my "ignorance" Dr. Stewart has got together. They are so silly and so mincingly peevish that they refute themselves to anyone familiar with the work they attack. He adds to the injury the insult of insinuating that my article shows "a thinly veiled animus." But what little acquaintance I have with Mr. Bartlett came about entirely through my preparation of the article on him. I esteem him highly, and have absolutely no reason in the world for animus against him. The article on him was written as all my music articles have been. I secured all his published works and numerous manuscript scores and studied them faithfully. My opinions on his writings are only my opinions (of course), but they are honest, founded on a faithful study of music and the kindred arts, and on a great desire to secure meet honor for the good work being done by living American composers and almost utterly neglected by miscellaneous publications. My tendency is to praise freely and blame stingly. I have carefully studied thousands of compositions in making up this series, and against one or two outbreaks like Dr. Stewart's I can put many words of cordial praise from musicians of prominence.
19The world would be dreary without differences of opinion, but there are differences and differences. Dr. Stewart's is of the latter sort. I thank you heartily for giving me so broad a clientele to appeal to against an attack so absurd but yet so annoying.
21RUPERT HUGHES
22December 18, 1896.
24At the Union League.—Under W. R. Chapman the Apollo Sixteen, with the Adamowski Quartet, gave a delightful smokers' concert at the Union League Club last Saturday evening. The part songs were sung in most finished and artistic style, and the enthusiasm of the club members and friends was at a high pitch. Mr. Chapman was congratulated on all sides for the wonderful degree of perfection which the "Sixteen" have attained this season. The playing of the Adamowski Quartet is always an artistic pleasure, and the combination was indeed a musical success. Why can't some of us who are not Union League Club smokers hear the Apollo Sixteen and the Adamowski Quartet in concert?
26Adele Lewing.—Adele Lewing recently played in New York at the Huberman Recital in Carnegie Hall, of which the New York Staats Zeitung said:
28In the concert participated the pianist Fräulein Adele Lewing. In all her numbers she appeared as an earnest artist, devoid of all acrobatic nonsense. The principal movement of the Chopin scherzo she interpreted with a somewhat unique but very consistent conception. She succeeded exceptionally well with the middle movement. She closed with an original composition, a Characterstück, that in spite of showing a little influence of Schumann and Brahms, yet proved that Miss Lewing also in composition does not wish to tread an ordinary road, but endeavors to choose her own. The young lady made a favorable impression by her playing as well as by her composition.
30Carreño Management.
31Editors The Musical Courier:
32WILL you kindly permit me to state that a notice in your last issue, under the heading Carreño Management, setting forth that I had placed the management of Madame Teresa Carreño in the hands of R. E. Johnston & Co. is utterly without foundation. I did, after numerous applications of that firm, give them permission to accept engagements for Madame Carreño upon a percentage, but that is all.
34I certainly do not intend to place the management in other hands on the eve of Madame Carreño's arrival in this country, and after having placed on substantial guarantees appearances with the following organizations and in the following cities:
35Philharmonic Society of New York, in Carnegie Hall, on January 8 and 9.
36New York Symphony Society on June 29 and 30; with Theodore Thomas' Orchestra at Chicago, February 5 and 6; with Boston Symphony Society at Boston, February 19 and 20; with Cincinnati Symphony Society March 1 and 2. Additional engagements with:
37Boston Symphony Society, as follows: Philadelphia, February 22; Washington, February 23; Baltimore, February 24; New York, February 25; Brooklyn, February 26, and Providence, March 10. Also a number of recitals in the principal cities of the United States and Canada.
39Madame Carreño's success in America is now assured beyond a doubt, and for the few remaining concerts I shall be pleased to receive offers from any reputable musical agency, but the management will remain, as in the past, solely under my personal direction.
41Very truly yours,
42RUDOLPH ARONSON.
43New York, December 16, 1896.
45Editors The Musical Courier:
46I have just seen to-day's MUSICAL COURIER, and I am very sorry the article about Carreño appeared as it did, because it was not my intention to have you understand it so. It looks as though the management of Carreño had passed into our hands, and this is not so.
48I am afraid Mr. Aronson will be very indignant about it, as we are simply empowered to negotiate for dates, and have no interest whatever in engagements already made. It was our intention to so intimate to you, and we regret there should have been any misunderstanding, which evidently is the fault of neither of us. Please announce in your next issue that we are associated with Mr. Aronson to negotiate engagements for Mme. Carreño, and oblige
49Very truly yours,
50R. E. JOHNSTON.
52Date of the Meistersinger.—We have never seen notice taken of the fact that the exact date of the action of Die Meistersinger can be established. The year must be one of two, for Hans Sachs is referred to as a widower, and the period of his widowhood dates from March, 1560, to August, 1561. Much the more probable is the latter year, for his apprentice would not be likely to suggest his marrying again three months after his wife's death. The exact date must, therefore, be June 23 and 24, 1561, the eve of St. John the Baptist's or Midsummer Day, and the festival itself. At this date Hans Sachs was sixty-seven years of age, but it would be mere pedantry to insist that his impersonator should necessarily make up in exact accordance with this fact. There are many contemporary portraits of Hans Sachs. One, taken in his fifty-first year (Bronzamer's wood cut) represents him with a full, square cut beard and, so far as can be seen under his cap, curly locks in fair abundance. Even in his eighty-first year, according to Herneisen's painting, he had a profusion of side locks, though his hair had become thin at the top.
54Wanted.—Position as accompanist and to coach singers in the studio of a vocal teacher. Applicant is a young lady who has had experience. Address Miss A. B. X., care THE MUSICAL COURIER, New York.
56SCHARWENKA CONSERVATORY OF MUSIC,
5735 EAST 62d STREET, NEW YORK,
58Formerly 37 East 68th Street. Near Madison Avenue.
59Under the Management of EMIL GRAMM.
60Prof. Xaver Scharwenka, Musical Director.
61All 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.
62N. B.—For the accommodation of students residing in the lower part of the city Professor Scharwenka will instruct same at his private studio at Steinway Hall. Applications please address to EMIL GRAMM, 35 East 62d Street, New York.
64WIENZKOWSKA.
65(LESCHETIZKY PIANO METHOD.)
66Mme. DE WIENZKOWSKA is principal assistant of Prof. Leschetizky of Vienna, and represents him in this country.
67Open for Concert Engagements and Musicales.
68ADDRESS STEINWAY HALL, City.
70FANNIE BLOOMFIELD ZEISLER.
71Available for engagements east of the Missouri River
72FEBRUARY ONLY.
73Pacific Coast Tour—November-January.
74English Tour—Spring, 1897.
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