Scan 16
Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
92 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 17. See the scan on archive.org.
1to be without any foundation whatever," to which he adds: "Therefore I (Dr. Muckey) think it reasonable to conclude that the consideration of such authorities (?) would be of very little service to the writer on voice production."
3Dr. Muckey has in his present series of articles in THE MUSICAL COURIER certainly not yet shown any such thing. Will he please tell us if he has ever used or even seen a stroboscope? If he has, will he describe its defects as a scientific apparatus of precision?
5Referring to his overtone recording apparatus (Article 7, MUSICAL COURIER, Vol. XXXV., No. 13, p. 16, September 29, 1897), will he please tell us how the record of the vocal overtones proves that they were generated by the subsegmentation of the bands, rather than according to his other claim by means of the "extrinsic voluntary muscles of the pharynx, mouth, &c. ("V. S. and Its P.," p. 10)? Which of these statements of his is wrong? How can they both be right? In Article 8, Part 1, MUSICAL COURIER XXXV., No. 15, p. 33, October 13, 1897, Dr. Muckey, after quoting "V. B. and T. B.," p. 94, "the higher notes produced by the vibrations of the subdivisions are called the harmonics of the string, and these overtones mingling with the fundamental tone determine the quality or timbre of the string or instrument which produces the sound," comments: "I think the author (Dr. Curtis) must mean the quality or timbre of the tone, instead of the string or the instrument. Moreover, musical instruments do not produce notes, but tones." one of two readings
6Referring to his overtone recording apparatus (Article 7, MUSICAL COURIER, Vol. XXXV., No. 13, p. 16, September 29, 1897), will he please tell us how the record of the vocal overtones proves that they were generated by the subsegmentation of the bands, rather than according to his other claim by means of the "extrinsic voluntary muscles of the pharynx, mouth, &c. ("V. S. and Its P," p. 10)? Which of these statements of his is wrong? How can they both be right? In Article 8, Part 1, MUSICAL COURIER XXXV., No. 15, p. 33, October 13, 1897, Dr. Muckey, after quoting "V. B. and T. B.," p. 94, "the higher notes produced by the vibrations of the subdivisions are called the harmonics of the string, and these overtones mingling with the fundamental tone determine the quality or timbre of the string or instrument which produces the sound," comments: "I think the author (Dr. Curtis) must mean the quality or timbre of the tone, instead of the string or the instrument. Moreover, musical instruments do not produce notes, but tones." one of two readings
8If this criticism is genuine, why did not Dr. Muckey correct his collaborator when he (Hallock) wrote (Werner's Magazine, Vol. XVIII., No. 11, p. 1010, 1896): "In the first place the string instrument has more overtones and truer overtones, &c.," and again (Werner's Magazine, Vol. XIX., No. 5, May, 1897, p. 381), "This series of overtones is characteristic of the string," &c. In what sort of spirit is this quibbling with words offered? Does one speak of the "note of a bird" or of the "tone of a bird"?
10How does it help us to understand the workings of the vocal instrument? If it does not let us have no more of it.
12Dr. Muckey quotes from "V. B. and T. P.," p. 82: "Compound tones are the result of compound vibrations, and are musical if the waves proceed together with perfect regularity," and remarks, "the waves must proceed together with perfect regularity or we would not have what is known in musical acoustics as tone." Dr. Curtis' sentence next succeeding the one Dr. Muckey quoted reads as follows: "If, on the other hand, the waves of sound interfere with one another, a mere discord is produced." one of two readings
13Dr. Muckey quotes from "V. B. and T. P," p. 82: "Compound tones are the result of compound vibrations, and are musical if the waves proceed together with perfect regularity," and remarks, "the waves must proceed together with perfect regularity or we would not have what is known in musical acoustics as tone." Dr. Curtis' sentence next succeeding the one Dr. Muckey quoted reads as follows: "If, on the other hand, the waves of sound interfere with one another, a mere discord is produced." one of two readings
15If Dr. Muckey failed to read the sentence next following the one he quoted his comment might be excusable. How many readers of this article does he suppose will believe that he did not read it? Or did he expect that no one would take the trouble to see how far his quotations are correct and how far his comments may require modification, because he has extracted sentences which taken aside from their contexts are open to gross misinterpretation of meaning. Does Dr. Muckey consider this scientific criticism? And supposing Dr. Curtis should treat his writings in the same way, what would he call it then? He will therefore please bear in mind that "Dr. Curtis, Mr. J. S. Brown, Dr. Muckey, the ethics of medical societies, and all other extraneous matter, interest us (readers and editor of MUSICAL COURIER, J. S. B.).
17"What is the human voice? How does it perform its functions legitimately when we sing? What is human tone? These are the questions that require scientific solution, and as they are being solved the charlatan will go and science will, as it always does and must, prevail." (Editor science will, as it always does and must, prevail.) [Editor 1897.]
19(To be continued.)
21WANTED—Soprano, dramatic and statuesque; Wagnerian roles; private; for illustration and demonstration; studio work which may lead to public engagement. Send photo and repertory as well as record. Salary satisfactory if work can be done. Address Wagner, care MUSICAL COURIER, New York.
23ELLISON VAN HOOSE,
24PRIMO TENOR.
25Opera, Oratorio, Concert.
26RUBEN & ANDREWS, 489 Fifth Avenue, New York.
28JOHN C. DEMPSEY,
29Bass-Baritone.
30Returned from Tour with Nordica.
31Henry Wolfsohn Musical Bureau,
32131 East 17th Street, NEW YORK.
34J. Henry McKinney.
35TENOR.
36Concert and Oratorio—Vocal Instruction.
37STUDIO:
38126 WEST 66th STREET, NEW YORK.
40OSCAR SAENGER
41(BARITONE),
42Vocal Instruction.
43Teacher of Josephine S. Jacoby, Contralto; Mme. de Pasquali, Soprano; Joseph S. Bernstein, Bass; Leon Rains, Basso, and other prominent singers now before the public.
44Studio: 51 East 64th Street, New York.
46Notes from Paris.
48CHANGES are taking place, even in Paris. Who can realize it possible that the Conservatoire concerts are henceforth to be held in the Grand Opéra? What a jump for the modest abonnées who have been packed together like sardines in their loved little box! And what will fill the Opéra, in which the classic abonnées will be but a handful? And what will become of the historic programs if the attempt is made to fill the Opera with un-classic listeners? And after all, will the Conservatoire be torn down before a dozen more seasons? How will M. Colonne succeed in his generous extension? His men felt the rehearsals for Sunday alone; what of preparation, such preparation as M. Colonne gives for a Thursday concert in addition? A M. Chevillard takes M. Lamoureux's men; will he fill his place? He was elected unanimously; one point of power already won. And what will be the course of the programs?
50M. Colonne commenced on Sunday with a fine program for real music lovers, but nothing pointing to sensation. Beethoven's first symphony, Saint-Saëns' concerto in C minor, Bach's Italian concerto, the overture of Schumann's "Geneviève," Massenet's "Suite Erinnyes," and the "Rienzi" overture. The opening was largely attended. M. Raoul Pugno had a grand ovation and played superbly. "The Spahi," by Loti-Lambert-Gallet and Alexandre, is the week's première at the Opéra Comique. M. Mangin, of the Opéra, has received the decoration of the Couronne de Siam from the King.
52A superb young officer of the Twelfth Artillery was married at the Madeleine this week to a piquant little French beauty. The marriage was of the first class, lights, flowers, carpets, Suisses in full dress, bishop in white mitre and robes, everything extremely "swell." The music, executed by full choir, orchestra, soloists and organ, was a first-class concert, not a ceremony accompaniment. Of the compositions were Faure's "Ave Maria" of course, Händel's "Hallelujah Chorus" and—the Chorus of the pilgrims from "Tannhäuser," with the Venusberg echoes by the organ Hé ben, quoi! the return of the penitent and the recall in perspective! Apt for a wedding! Imagination saw a slight wince in the epaulets on the officer's broad shoulders, and a slight frisson in the gilt trappings across his many chest. Apt for a wedding, the "Pilgrims' Chorus!" from "Tannhäuser!"
54To-morrow will see another very swell wedding at the Madeleine, that of Mlle. Emma Leduc, daughter of the head of the well-known music publishing house. A grand reception follows the wedding at the Leduc home, Rue Scribe. M. Henri Ravina, the celebrated composer, is grandfather of the bride, and is svelt, young looking, active and interested in the affairs as a bridegroom himself might be. Madame Leduc is a young, graceful and handsome woman. Her second daughter was married a few months ago to an officer, and lives out of Paris.
56Mrs. Eddy and Miss Rose Etlinger have left Paris for Berlin, both well and full of life and ambition. Rose has been passing her roles with Mme. Marchesi. Mlle. Sylvana (Miss Peacock, of Philadelphia,) has sprained her ankle and is detained in Leipzig. Miss Grace Gifford has left Paris for London, where she will study oratorio and English ballad with Randegger, after which she returns to Toledo to establish herself as a teacher. If every American pupil who came to Paris had the level head, intelligence and character possessed by this little lady there would be many more valuable musicians. Her example is worth following, and a talk with her could not fail of doing good to anyone contemplating a career.
58A talented young American, Miss Beverly Sitgreaves, has arrived in Paris from New York, to study acting, and will be heard from when fairly settled down to work. Miss Sitgreaves has also planned her work with intelligence. A new idea in vocal study is to possess an Aeolian with which to study operatic parts. Paris is discussing the De Méréode episode. New music out by Mlle. Jane Vieu, published by Ricordi; "Celle qu'on reve," "Dernier rendezvous" and "Pirsque c'est l'Eté," three charming songs, the first dedicated to Trabadelo, the second on words by the Comte de Montesquion. M. Henry Falcke returns next week from a successful tournée in Germany and Denmark. Mr. Margulies is in town. His cousin, Miss Ellen Ryder, is here, a pupil of Mme. Viardot, and is next week to take part in a performance of "Faust," to be given in a Fontainebleau theatre. The performance has been arranged by a professor of singing here, M. Jourdain, who has instituted this plan for making his pupils at home on the stage. He arranges these representations for the suburban theatres, and with a few trained artists mingles his pupils for the training and practice it gives them.
60I hear that Mr. de Vaux Royer, the young violinist who spent a year or two studying with M. Marsick, in Paris, is having good notices in Pennsylvania, where he seems to be playing successfully.
62Mr. J. Rivière, the handsome and talented tenor from the Marie Rose school, is engaged at Liege. He is busy arranging costumes and putting finishing touches on his roles. He has a robust tenor voice that would be valuable anywhere. He has twenty-four operas. Mme. Roze is busy arranging her classes.
64Massenet is enthusiastic over Calvé as Sapho.
66Mme. de la Grange has had compliments from Saint-Saëns on the singing of one of her pupils Madame Vehon-Alvorsen, whom he heard sing in Sweden. Madame has already commenced work. It will be remembered that among her pupil are Ella Russell, Rosa Green, Madame Johnston, Mrs. Baldwin, Mlle. Thornton and others.
68"If I were not an Italian I would wish to be an American!" Such was the remark made in convincing tones at a recent concert by a sweet looking, very lady-like woman, who is a regular habitué of musical performances in Paris. She had a small, slight, straight form, with very small hands and feet, lustrous black eyes, with long lashes, and the tasteful dark costume spoke a knowledge of good society and good taste. The speaker was Mrs. Maurice Strakosch, the third of the wonderful trio of sister singers—Adelina and Carlotta Patti and herself. For Mrs. Strakosch makes her home here on Rue La Bruyère, in the Trinité quarter, where she lives modestly and goes out a great deal, chiefly to musicals, concerts and teachers' auditions. The last she specially loves, because she meets there "so many nice Americans."
70She it is who has been devotedly caring for her sister, the illustrious Patti, who was caught in Paris with a slight indisposition when on her way to Grasse to meet her husband. The indisposition is but slight, confining her, however, to her room and making the attentions of a physician necessary.
72Mr. Ferdinand Strakosch and his son Carl and daughter Febia live on the Boulevard Péreire, a short distance away. The daughter Febia is a singer of note, and has been making successful tournées lately in Spain and Holland. Mrs. Strakosch speaks English as well as Italian and French. Her speaking voice is deep and touching, and she is an interesting talker.
74Musical society and a large world of friends beside are deeply shocked at the death of M. Léon Bellmann, nephew of M. Eugène Gigout, organist of a large church here, and just coming to be known as a composer of much promise, already of many interesting works, of which THE COURIER readers are aware. His death, which took place in the Gigout homestead, also his home, was sudden. He was but thirty-five years of age. He leaves a widow and three children.
76The Colonne family is also in mourning for the death of a sister of Mrs. Colonne.
78Mr. and Mrs. B. M. Chase, of Brooklyn, who have been in Paris studying, have left for London. Mr. Chase will be remembered as the effective solo tenor of the Dutch Reformed Church in New York. Delle Sedie, his professor here, says that his voice resembles very much that of Sims Reeves, but is larger. It has a beautiful quality and has very much improved. Mrs. Chase has been studying piano in the Pugno School.
80Miss Maud Roudés (Roudebush) is singing the role of Venus in the autumn series of opera being given at Covent Garden. Her voice and acting are well spoken of by critics. She sang four times this past week.
82Mme. Roger Miclos is engaged for a series of twenty-five concerts in Holland in November.
84FOR SINGERS.
85The Great Problem—Automatic Breath Control—solved by EDMUND J. MYER in his book, "Position and Action in Singing." Second Edition out.
86Send for circular. 32 EAST 23d STREET, NEW YORK.
88ROYAL GEMS.
89The Van Dorston Quadruple bass-bar Violins for solo and orchestral work surpass all records ever made for quality, power and responsiveness.
90Violins strengthened and made perfect. Guitars greatly improved. Scientific repairing. Choice strings.
91VAN DORSTON & CO., 33 Union Sq., New York.
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