Scan 15
Musical Courier 1898-01-05: Vol 36 Iss 931, 1898
112 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 16. 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.
1THE MUSICAL COURIER. one of two readings
3CHICAGO OFFICE THE MUSICAL COURIER, one of two readings
4CHICAGO OFFICE THE MUSICAL COURIER. one of two readings
5226 Wabash avenue, January 1, 1898.
7WHEN the enormous possibilities of this great city, with its wealth, its culture and its wondrous progressiveness are taken into consideration the year that has just passed away has not reflected such glory musically as we had a right to expect.
9As in other cities, failure and disappointment have been noticeable. First, Rosenthal's unfortunate illness, which threw a gloom over the beginning of the season, then the disaffection of various former members of the Grau company threatened that organization with collapse. The apathy of the public, too, was really remarkable. Nothing "drew" in very large numbers, and only private enterprise prevented the year 1897 from being not only a financial but an artistic failure, inasmuch as few of the chief artists had the incentive to continue in their work and devoted their time almost exclusively to teaching.
11So the year 1897, which began so badly, was true to itself and ended badly, for the inimitable Sembrich, who had been announced to close the musical season of 1897 and open that of 1898, telegraphed from New York her regrets that sudden influenza prevented. Hundreds were disappointed, for she has many devoted admirers here. I know one man who heard her in 1885 and whose loyalty to her marvelous gifts had since never wavered. He purchased fifty seats to present to some of his friends, while another purchased twenty, and altogether, notwithstanding much holiday enterprise and merrymaking, the Auditorium bade fair to be crowded. But the week ended shows us no Sembrich nor any likelihood of her coming to Chicago. A magnificent house was assured, with hosts of old friends and the newer generation ready to become so. Therefore it seems extraordinary that no hope is held out that eventually we may hear her.
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16The concert given by the Thomas Orchestra, however, apparently suffered little pecuniary loss from Sembrich's non-appearance, for the Auditorium was crowded to hear a gorgeous program beautifully played, with Gerardy, 'cello soloist. The young virtuoso has improved in his method of interpretation since last here, and his performance was of course enthusiastically encored. But his selection was not of the most taking character, and it would have been preferable if he had attacked some more favorite composition.
18The orchestra was in unusually good form, and played with delicacy and finish Dvorák's delightful "Carnival" overture, the lately-produced Rimsky-Korsakoff's suite, "Scheherazade" (Op. 35) and Schubert's unfinished symphony. The Lalo Concerto was Gerardy's number, after which he played an encore of Max Bruch's.
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23Apart from the Thomas Orchestra, the opera, and the Apollo Club, the only concerts given by visiting artists during the earlier part of the year 1897 were those of Nordica, Calvé, Halir, at Wolfsohn's Jubilee; Sousa, Carreño and Huberman. During the last three months of 1897, Miss Ulrich (Mlle. Noldi) and Miss O'Brien gave the only two large concerts at Central Music Hall. The society doing the best work, of course, was the Apollo Club, who presented two new works to Chicago audiences. These were Dvorák's "Stabat Mater" and Goring Thomas' "Swan and Skylark."
25In addition to these works, the annual performance of "The Messiah," Mackenzie's "Rose of Sharon," Rheinberger's "Christoforus," and Mendelssohn's "Elijah" were given. The club's work was most favorably regarded, and, notwithstanding the depression of the times, the organization showed an advance in sales. The Mendelssohn Club also had considerable success, giving three concerts by subscription. The Amateur Musical Club also contributed its quota of music to the list of socially musical functions, under the very able presidency of Mrs. Frederick Ullmann.
27All the conservatories were well represented in concert work, the Chicago Musical College leading as to the number of events with the American Conservatory, Chicago Conservatory and the Gottschalk Lyric School following in the order named.
29In the list of private teachers and entertainers Emil Liebling stands pre-eminent, giving no less than seven concerts himself and playing at many given by other artists. J. H. Kowalski gave several studio recitals and several public entertainments.
31Mr. Sherwood was among those giving recitals and also one very largely attended concert at Central Music Hall. W. C. E. Seebock, Carl Becker, D. A. Clippinger, August Hyllested and H. S. Perkins were among the other Chicagoans heard in recital last year.
33Local artists were tolerably well represented. In the early part of 1897 Helen Bradley was heard three times in important concerts; George Hamlin was also heard a number of times, and these two former students, with Frank T. Baird, undoubtedly obtained the lion's share of engagements. Mrs. Katherine Fisk sang at two concerts. George Ellsworth Holmes, the finest baritone Chicago possesses, was also persona grata with audiences here, and was received by acclamation as not only the leading baritone, but possibly the leading singer so far as the West is concerned. Miss Jennie Osborn, too, was another to advance rapidly and was received with general favor, her taking voice and manner gaining for her several excellent engagements, notably with the Apollos. Mrs. Harrington Furbeck, Mrs. Rommeis Thacker, Miss Estelle Harrington, Mrs. Christine Nilsson Dreir and the leading lyric soprano, Mrs. Genevieve Clark Wilson, were also heard with the biggest organizations.
35The greatest successes among the visiting artists at the end of 1897 must be accorded Bispham, Ysaye, Campanari, and Nordica; while Chicago's fine artists who have all appeared recently receiving enthusiastic recognition are Bruno Steindel, L. Kramer and Edmund Schuecker. One of the most noted events of 1897 was the appearance of Leopold Godowsky with the Chicago Orchestra when he gave such a magnificent performance of Tschaikowsky's first concerto.
37Altogether the music of 1897 can be summed up as artistically satisfactory, but financially wanting. In other words although eminent musicians were here ready and willing, yet the public, owing to the stringency of the times, was during the first half of the year unresponsive.
39Fortunately in the latter portion a better state of affairs existed on the part of the public, but, peculiarly enough, the local artists have not been placed sufficiently in evidence, and this part of the subject I propose to go into more extensively in a future letter.
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44A large audience worked up by glowing accounts from other cities to a pleasurable anticipation of a musical treat assembled last evening in Central Music Hall to welcome the famous Banda Rossa. It was about the time announced for the commencement of the concert when those present were electrified by a statement from the stage that some obstacle had arisen owing to which the Banda Rossa would not play and money paid for the tickets would be refunded at the box office.
46Rumors of trouble and financial embarrassments had been rife during the preceding day, and I had even received private information of possible serious difficulties, but none the less the culmination came as a surprise. Manager Carl Rosenfeld and Signor Sorrentino, the bandmaster, had come to a deadlock. The latter demanded considerable back salaries. Mr. Rosenfeld maintained the band was indebted to him for excess payment over his contract, and the players went on "strike."
48To the doing of this opportunely and most effectually, a previous proceeding of a similar kind in New York had been full of useful experience.
50The story of the trouble so far as can be gathered is as follows: Manager Rosenfeld, after the negotiations with Signor Sorrentino in Naples, for this American tour, had engaged the maestro and his fifty-five bandmen for eleven months at a total cost of $142 a day and actual traveling expenses, not inclusive of hotel bills.
52No sooner was the band in New York than the gay Italians found that the cost of living in the hotels of the United States was somewhat heavier than in Naples. A two days' strike was the consequence, when Manager Rosenfeld gave in and made a new contract to pay $175 a day. While the band was playing in Cincinnati a telegram was received from the manager that no more money was to be paid until the band reached Chicago. Early yesterday morning Signor Sorrentino called on Manager Rosenfeld to collect the overdue salaries, and was informed that the New York or second contract was void, and that instead of his owing $2,000 the band was indebted to him $2,800 for excess paid over original contract amount. After consultation among the band members it was decided not to play.
54It is stated that some concerts will be given by the Banda Rossa in this city during next week, one being for a local charity. Then a return will be made to the East, Signor Sorrentino declaring that he has several offers from Boston managers. According to other members of the band there is a possibility that it will be a Chicago fixture for the winter season.
56Manager Rosenfeld expressed himself as outraged by the treatment accorded him. He says that not only has $20,000 been spent in making a reputation for the band, but that $3,000 was advanced in Italy, and that of this $200 only has been repaid. "The demand for a release from all his obligations and a $2,000 bonus was something impossible to agree to, and now, as he threatened to do if re-
58DAVID MANNES,
59Violinist.
60CARNEGIE HALL,
61New York.
63SOUSA'S
64"The Bride Elect"
65Was Produced December 29.
67SOUSA and His Band
68BEGIN THE 12th TOUR
69On January 8, 1898.
71Katherine Kautz,
72PIANIST.
73Concerts and Recitals.
74Address: THOMAS & FELLOWS,
75Carnegie Hall, New York.
77IMPORTANT TO MUSICAL DIRECTORS AND ARTISTS.
78Arthur W. Tams' Musical Library,
79109 WEST 28th STREET, NEW YORK.
80Complete Library of Concert Music for Orchestral use.
81Orchestra Parts and Conductors' Scores of all Grand and Comic Operas, Cantatas, Oratorios, Masses, &c.
82Any song or musical composition orchestrated at short notice.
83Musical compositions edited, revised or copied out for copyright purposes
84OCTAVO CHORUSES
85of all standard works, and all the newest compositions, in unlimited quantities, will be rented to any Choir or Society at a fraction of the purchase price—a system which deserves a trial, and will demonstrate its advantage in the matter of expense for music for Annual Concerts, &c. Catalogue and prices sent postal free.
86AMATEUR MUSICAL SOCIETIES
87that desire to give Opera, Operetta or Cantata, with the aid of local talent, for local charity or church, send for catalogue, free. I can loan you the complete musical material, consisting of any number of Vocal Scores for Principals, Scores or Chorus Parts, for Chorus, Dialogue Parts, Orchestral Scores and Orchestral Parts, and the Stage Manager's Guide to each Opera.
89WM. H.
90ORATORIO, CONCERT and SONG RECITALS.
91RIEGER,
92TENOR.
93For Terms, Dates, &c., address 18 East 22d St., NEW YORK.
94or Western Manager, BERNHARD ULRICH, 240 Roscoe St., Chicago, Ill.
96DOERNER PIANO SCHOOL.
97ARMIN W. DOERNER, 222 West Fourth St., Cincinnati, Ohio.
98THE COURSE OF INSTRUCTION embraces not only Piano Playing, but everything pertaining to this art, viz.: Theory and Composition, Ensemble Playing, Sight Reading.
100F. W.
101WODELL,
102DIRECTOR
103The School for Singers.
104Principles of the Italian school.
105Modern Pedagogic methods.
106Associate Instructors.
107Opera, Oratorio, Concert, Church Singing.
108Valuable pamphlet free.
109Pierce Building,
110Copley Square,
111BOSTON, MASS.
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