Scan 43
Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
141 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 44. See the scan on archive.org.
1in Re Puriency.
2817 NEWHALL STREET, MILWAUKEE, Wis., October 23, 1897.
4TIRER le diable par la queue. How very indecent these good women are who so persistently clothe innocent art productions with the putrifaction of their imaginations. It is time they received systematic, rhythmical, squelching, con moto, e furioso, e decisivo. Let it, the squelching, be loud, manly and long on adjectives. I am reduced to a mental wreck, even I, fed on Marlowe the rough, Ovid's Elegies, Boccaccio, to remember where in "Les Miserables" lies that indecency which is a menace to young girls. I read it years ago, and now to think that I missed so much in this good book!
6It is grievously disappointing, to say the least. And to think that I have missed noticing that obscene $5 bill, for which, on the score of a figure upon it, our poor little suckling Government was raked over the coals by a Milwaukee minister, who declared in stern Baptistic or Methodistic tones that this bill was calculated to work havoc with the morals of America's children. Rot! Whoever sees a $5 bill anyway? Possibly these pulpit spouters are better paid than journalists. A $5 bill, was ist das?
8In whatever little delving I have done into Chaucer, the classics, old Dean Swift et al., I have never succeeded in finding anything nearly as reprehensible as these old female women, who would put trousers upon barnyard cattle and drape the stars. I stood with a friend once before a gorgeous painting by Bouguereau. You all know Bouguereau—you know his misty, dreamy, imaginative pictures, where the nude figure seems to vibrate and be reflected upon the shimmering atmosphere, the clouds or sky, to float like a vision before one's eyes. We were lost in admiration of the delicate imagination behind the admirable technic and, although this school of painting was not our favorite, we were as happy as two appreciative people can be before a good art work.
10Suddenly—bah! between us and the picture came two gum-chewing specimens of unwashed country bumpkins. Our eyes dropped upon the intruders instinctively and just in time to see the man's eyes bulge out of his uncouth face and the woman's face become very red. They gave a wild glance at each other, one at the picture, then pretended that they hadn't seen it. Our evening was spoiled. We then saw in the canvas what they thought they saw, and it was after all but the reflection of two innately vulgar, deeply ignorant, animalistic minds, which could see evil in a purely beautiful creation, even when they could not see it in the songs they could appreciate, songs of fallen women, deceitful girls, unfaithful wives, men who jest with every form of moral law.
12It was a pitiable sight, but had I had the power, after seeing that look upon their vulgar faces, I would have put forth a strong hand and crushed them like flies, for this is where the indecency lies, this is what threatens our moral life, this is what needs attention on the part of reformists, namely, the minds of the people who are instinctively, inarticulately vicious. Let art productions alone and sweep out the minds of those who blush when they encounter them.
14Which is the more displeasing and dangerous element in our modern life—these purient prudes or the man who, steeped to the neck in all forms of vice, openly scoffs at idealism; terms it a "man's (?) healthy appetite" to prefer realism, for this is life, as he knows it; who declares, because he is afraid to believe otherwise, that there is no God, no hereafter; who jeers at the idea that there can be such a thing as a pure man or a pure woman; who sets up his senses and worships them, not that the senses are stronger than usual in him, but because he is a moral coward, whose rag of a will can be overcome by lust or liquor?
16If one could wed puriency to moral lepers, each being good enough for the other, they could fight it out together. If one could paralyze or destroy these vicious-minded old women, these men who shriek about realism, as represented by a certain cheap brand of modern writers, because in their palmiest days the ideal was beyond their comprehension, who pander to the tastes and requirements of evil appetites and an evil public—if, I say, these could be destroyed, these men and women who see evil where it is not, but are blind to it where it really exists, the decent men and women could hope for a peaceful existence without having to blush at the contents of their neighbors' minds.
18The trouble with our whole country is the lack of sober thought, sober living; sober thought of what is a right and Christian way to live, and what is a flashy, useless, sinful, frivolous life, full of running away from the serious, the contemplation of the hereafter, the performance of duties. Carlyle says that a man has no rights, only duties; and this is true. It is the coward, the cad, who shirks his duties to his God, his own soul, his country. These duties lie far beyond the realm of puriency or realism. They lie in the realm of kindliness, mental and moral cleanliness, of industry, and the persistent effort to make right win in every conceivable way. When will we cease to be a nation of empty, feather-headed, frivolous, selfish pursuers of excitement and pleasure?
20We do not need to reculer pour mieux sauter, we can advance from where we are if the curds and whey inside of our heads will ever give place to brains. We can remember that Latin quotation: "Quos Deus vult perdere, prius dementat"; we are nearly senseless now, we must retrace our steps to the paths of serious thought, or destruction will overtake us swiftly.
22* * *
24An error occurred in my letter of the 13th inst. regarding Miss Maud Smith which I now take pleasure in correcting. Miss Smith has rented the studio of a certain local singing teacher in which to give her lessons, but she is not to act as this teacher's accompanist. Miss Smith received her diploma in Berlin, and I am sure she will prove an acquisition to our musical ranks. I trust that she will do well in our beautiful city.
26* * *
28To-morrow, Sunday, Professor Bach's orchestra will give a selection from Robyn's opera "Jacinta," which will be heard for the first time in Milwaukee.
30* * *
32People desiring to give me any information about themselves or their work should get it to me in my Monday morning's mail. It takes time to prepare these letters and get them to New York in time.
34* * *
36On Monday evening, October 18, the Redpath Concert Company gave a concert at the Grand Avenue Congregational Church. There was a large attendance, and the people were enthusiastic, as they well might have been. The program was as follows. I include the score:
38Mme. Clementine De Vere………………………………………Prima donna soprano
39Mrs. Clara Murray……………………………………………..Harp
40Mr. Arthur Beresford…………………………………………..Bass
41Mr. Paul Listemann……………………………………………..Violin
42Signor Romualdo Sapiio………………………………………Musical Director
44Minuet in A flat…………………………………………………Papendieck
45Encore, Gavotte…………………………………………………Sapiio
46Honor and Arms (Samson)…………………………………….Händel
47Encore, Trankadillo……………………………………………..Molloy
49Mr. Beresford.
51Fantaisie (Carmen)……………………………………………..Bizet-Hubay
52Encore, The Swan……………………………………………..Saint-Saëns
54Mr. Paul Listemann.
56Air (La Perle du Bresil)……………………………………….David
57Encore, Spring Song……………………………………………Sapiio one of two readings
58Encore, Spring Song…………………………………………..Sapiio one of two readings
59Madame De Vere.
61Danse des Sylphs……………………………………………….Godefroid
62Encore, Lucia sextet……………………………………………Donizetti
64Mrs. Clara Murray.
66The Two Grenadiers…………………………………………..Schumann
67Mr. Beresford.
69Ave Maria………………………………………………………..Schubert-Wilhelmj
70Mrs. Murray and Mr. Listemann.
72Valse song, The Magic of Spring……………………………..Sapiio
73Encore, Serenade……………………………………………….Gounod
74Madame De Vere.
76Scene de la Czarda……………………………………………..Nachez
77Mr. Listemann.
79Noël (Christmas Morn.)……………………………………….Gounod
80Mmes. De Vere and Murray
82Messrs. Beresford, Listemann and Sapiio.
84A long program, you will say, but it speaks for the excellence of the performers when I say that we were sorry when the last note sounded. Signor Sapiio, who accompanied the performers with delicacy and good taste, played his opening number delightfully. He has the gift of being able to phrase clearly and correctly, and although he is not, nor aims to be, a great pianist, it is a pleasure to hear him play.
86To speak of the prima donna next, I am reminded that I must not forget to make allowance for the fact that she was far from well and indeed contributed her share to the evening's pleasure only through a great effort. This was, of course, apparent in her work. In spite of this she sang warmly, truly and with fine effects of light and shadow. Especially enjoyable was the beautiful waltz song, composed by her husband, Signor Sapiio. This has a fine spirit, dash and brilliancy, and Madame De Vere was thoroughly in touch with the spirit of the composition. The audience enjoyed it immensely. The serenade, by Gounod, was sung very tenderly and sweetly, and it is easy to see that Madame De Vere has won her reputation from merit, not unlimited advertising.
88Mr. Beresford has a beautiful, resonant bass voice, well controlled, sensibly handled and full of vitality in the middle and lower registers. The upper tones are a trifle thick and not vibrant enough. His "Samson" number was splendidly given. The vigorous music of Händel was vigorously treated; the dramatic effect was great. In this almost heroic number Mr. Beresford had the opportunity to display the flexibility and control of his voice. His breath control is perfect, and I hope some of our young singers were there to profit by such a good example of correct voice placement, breath control, phrasing and spirited singing. The "Two Grenadiers" was dramatically sung. It is an old concert number, but one never tires of it.
90Mr. Paul Listemann is a young man who lightens the arduous work of a grateful critic. He in his art has gone farther than the others have in theirs. His technic would be praiseworthy in a much older violinist. It is exceptional. The double stopping and harmonics were clearly played, with so few slips that unless one were on the lookout for that sort of thing they would pass unnoticed. His wrist is flexible and he has a strong, graceful style of bowing. Mr. Listemann's tone is not large, but that will surely come soon. At present he plays with more animation than warmth, yet in the "Ave Maria" he displayed good expression and a very clear, sweet tone. Mr. Listemann plays brilliant music exceptionally well, but he plays romantic, sentimental, sedate music well also.
92He is fortunate in owning a good violin, the G string of which is really beautiful in warmth. Mr. Listemann has a very bright future before him, for, added to his musical gifts, he has a keen intelligence which is apparent in all he does.
94Boston should feel proud of this young man. I wish we had a few people like him here. We would starve them in great shape, I can tell you. You know that is the sign of our highest approbation.
96Mrs. French was kind enough to introduce me by letter Mrs. Clara Murray, of whom she wrote: "This will introduce to you Mrs. Clara Murray, the most charming harpist of the West, so far as my experience goes." This, in my opinion, is not saying one bit too much. Mrs. Murray's playing is musical, her technic is about perfect, her work is accurate, with well accented rhythms, and her interpretation is absolutely satisfactory. The harp beneath her skilled fingers seems to sing with good sustained tones; if she touches a string the tone seems to come out clearly and sweetly, a great contrast to the out-of-tune twang, twang one hears usually for harp playing.
98Mrs. Murray won my heart anyway with the "Danse des Sylphs," by Godefroid, recently deceased, not only because she played it so delicately, but because my mother used to play me to sleep with it, more years ago than I like to remember. The closing number, bringing out all the artists, was not very well given; it was rather rough, unsteady and ragged. Thus endeth the story of an exceedingly pleasant musical evening.
100* * *
102After the above-mentioned concert I stopped into the Empire to get a lunch and while there I received from Mr. Renz, acting for Professor Bach, season passes to our orchestral concerts, and I take this opportunity to thank both Mr. Renz and Professor Bach for their courtesy in a town where some three benighted individuals would pay me to stay away from their concerts, and verily I believe this a good way to make money; it would suit me anyhow.
104* * *
106Mrs. Hess-Burr's Milwaukee project cometh on apace. She and Miss Osborne gave a recital for a private woman's club last week, with great success.
108* * *
110The members of the Redpath Concert Company have spoken in highest terms of the policy, influence and courage of THE COURIER and its correspondents.
112* * *
114As the critic on the Journal said, "In every respect the concert was highly successful, and it is an excellent plan for such entertainments to be incorporated in the lecture course, as we do not have any too much really good music in Milwaukee, despite the town's fictitious reputation in this respect." Fictitious! Und wie?
116* * *
118Nordica is coming! Mr. Wachsner, manager of the Pabst Theatre, has arranged for our Thomas concerts as follows: On November 9 comes the orchestra, with Nordica; On December 9 the soloists will be two members of the band; on January 13 Jean Gérardy, the 'cellist, will appear; in April we will hear Josef Hofmann, the pianist. The orchestra numbers eighty—good men and
120Chickering & Sons' . . . Grand Orchestral Concerts.
122ANTON SEIDL, Conductor.
124CHICKERING HALL,
125Tuesday Afternoon, November 9, at 3:30.
126Tuesday Evening, December 7, at 8:30.
127Tuesday Afternoon, January 4, at 3:00.
128Tuesday Evening, February 1, at 8:30.
129Tuesday Afternoon, March 1, at 3:00.
130Tuesday Afternoon, April 5, at 3:00.
132RICHARD HOFFMAN will play the Chickering Piano
133Tuesday Afternoon, November 9, at 3:00.
135SOLOISTS FOR LATER CONCERTS:
136FRANZ RUMMEL,
137XAVER SCHARWENKA.
139Reserved Seats, $1 and $1.50; admission, 50c.; Course Tickets, $5 and $7.50.
140Now on sale at Box Office, Tyson's, Manhattan and Windsor Hotels.
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