Scan 34
Musical Courier 1898-01-05: Vol 36 Iss 931, 1898
86 lines. Read by computer on 21 September 2026. Printed page 35. See the scan on archive.org.
1PITTSBURG, January 8, 1898.
3EFFORTS are now making to place the Pittsburg Orchestra upon a permanent foundation for the next three years. In the summer of 1895 the Art Society of Pittsburg took active steps looking toward the inception of the movement, which it is now hoped to perpetuate. During the first two years of the orchestra's career it has enjoyed a fair amount of public support, the growth of interest and patronage having proved that with an amended plan of operation a symphony orchestra in this community could almost earn its own sustenance.
5There were many factional fights in the Art Society as a result of disagreements over the orchestra problem, and the guarantors, who lost 73 per cent. of the subscription the first year and 46 per cent. the second year, took the bull by the horns and decided to run the show themselves. This year they will probably lose 35 per cent., and when they have paid that their liability will cease. During the first two years there were twenty-five guarantors who pledged $23,500, the Art Society's cash gift of $1,500 making a total of $25,000. Since the guarantors took hold they hustled about among their wealthy friends and brought in a number of one year subscribers, increasing the total guarantee for the present year to $44,000. The first year of the institution the receipts were about $6,000. The second year brought in $16,000 and this season will show a revenue of about $18,500 from all sources. But so much for present and past.
7The future salvation of the Pittsburg Orchestra rests more upon the policy of the management than upon the people. Developments of the last thirty days show that much history has been manufactured since President McKinley and G. Campanari drew a big crowd on the opening night of the present season. On that occasion the S. R. O. sign was used. Since then the audiences have practically been confined to the season ticket holders, the door sale depending upon the popularity of the soloists being small. Evan Williams attracted a fair house, but others brought no business to the box office. As a matter of fact the soloists were selected more for the sake of giving a musical variety than for business ends. Yet this has nothing to do with the orchestra's individual merits.
9Local critics found the orchestra itself superior to its conductor, Frederic Archer, who is also city organist. Not that he is wanting in musicianship, or rare artistic attainments, but he seems, in the judgment of these newspaper writers, to be deficient in orchestral schooling, lacking experience. Twenty-five years ago he was associated with Sir Jules Benedict in orchestral conducting in London, but his principal work in this line began when, more than three score years old, he commenced to rehearse the new Pittsburg Orchestra in January, 1896. Mr. Archer's main fault in beating time is a tendency to mark all of the incidental rhythms of a phrase. He indulges this habit without restraint, invariably beating even time with one hand and triplets with the other if the score will permit such interpretation. It is not hard to conjecture the chaotic results that frequently follow.
11The orchestra, numerically considered, includes eight first violins, eight seconds, six violas, four 'cellos, four double-basses and a full complement of wind and percussion instruments. Briefly reviewed, it may be stated that the woodwind is excellent, the battery good, the brass choir fair, the strings indifferent. The last named do not compare favorably with the same division of last year's orchestra, the violas and violins being decidedly weak. The first concert of the season revealed to the public that less than a third of last year's band had been re-engaged, so due allowance was made both for the fact that new material had to be disciplined and that the men had been given daily rehearsals for only three weeks. But as time progressed the orchestra did not make artistic headway, some of the newspapers indulging in drastic strictures upon the conductor's sins of omission or commission, never arraigning the players for the failure to attain what under the circumstances seemed to be an impossible ideal. So the millionaire proprietors of the orchestra, with a few of their dollars at stake, caring nothing for art, nor for the true interest of the orchestra, which sadly needed truthful criticism, threatened to shut off advertising or to do something else equally terrible, and have now muzzled the press. Thus, while these critics told the public what was the matter for a while, they have nothing more to say.
13Now arises the question whether the orchestra is still to live. Firstly, the money must be raised. A step taken in this direction some weeks ago met with no encouragement. A circular letter had been sent to the guarantors calling a meeting to consider ways and means of continuing the institution. But the response was faint, a quorum failing to answer, notwithstanding personal appeals by telephone at the eleventh hour. Finally, the matter was left in the hands of a committee, of which W. N. Frew, head of the Carnegie institution, is chairman. This committee will devise ways and means to continue the orchestra. Hitherto the season has consisted of but ten afternoon and ten evening concerts, spread over a period of fourteen weeks. About twenty local musicians belong to the band, while the remainder are imported from New York or Chicago for this brief period.
15The entire orchestra, save perhaps five men, could be made up of local players, but the importation scheme is favored, and the community loses. The season is short, and the outside musicians come in, get the big salaries and go away. So it is not a Pittsburg orchestra after all, as the members for the greater part have no interest in the community, its people, or its artistic welfare. The question of Mr. Archer's successor is also to be disposed of. He was engaged for one year in the fall of 1895. In the summer of 1896 he was re-engaged for two years. On the 31st inst. his contract will expire, and if the orchestra guarantee fund can be renewed he will be an applicant for re-election. The post pays $2,000 for the twenty concerts and incidental rehearsals, with extra remuneration for extra concerts. Some of the guarantors who take an active interest in the orchestra say that other candidates will be considered if they send in their names and terms, but unless someone available comes along Mr. Archer will become his own successor. In other words, they do not intend to canvass the field, although if they are sought out by a prospective Nikisch, Weingartner, or Richter, they may talk business. However, there seems to be a chance here for somebody.
17The seventh orchestra concert is to be given this week with Pol Plançon as soloist. Josephy was booked for the event, but on very short notice was withdrawn by his manager, owing to illness or indisposition. This change of arrangements is a great disappointment to those who love good piano music. However, Mr. Plançon will no doubt prove a most acceptable substitute. Tonight Melba and her Philadelphia combination, accompanied by the Pittsburg orchestra or a fraction thereof, and under the conductorship of Bimboni, will present the "Barber of Seville" at Carnegie Music Hall.
19Chicago News.
21A symphonic poem by Frederic Grant Gleason will be performed by Theodore Thomas' orchestra in Chicago this week. Serena Swabacker will sing with Theodore Thomas' orchestra January 28 and 29.
23The Rubinstein Club.
25The first concert of the eleventh season will be given this evening, and the two remaining concerts February 17 and April 21. William R. Chapman, the director, has brought the club to a high degree of skill, the effects being procured apparently without effort.
27Last year the fine shading was specially commendable. Mr. Chapman takes much interest in these concerts, and is indefatigable in adding to their value. Altogether, with the good singing, the crowd of well-known people who attend, the seventy or eighty young women on the stage in dainty toilettes, the judiciously chosen soloists—these musical affairs are among the pleasantest of the season, and merit the social prestige they have gained.
29Feilding Roselle's Success.
31That excellent contralto and sympathetic artist Miss Feilding Roselle sang in "The Messiah" in Washington on December 28, and scored a significant success. After the air "He Shall Feed His Flock" Miss Roselle was recalled four times. Beyond doubt Miss Roselle is possessed of one of the richest, purest and most even contraltos on the American concert stage to-day, while the intelligence of her interpretation is always a satisfaction to a musically cultivated audience. The Washington papers have this to say:
33Miss Feilding Roselle shared Mr. Bushnell's honors. has improved wonderfully in her voice, which now displays an evenness and breadth, a sympathetic timbre and a mellow smoothness. She sang "He Shall Feed His Flock Like a Shepherd," and "He Was Despised and Rejected," two solos that demand something more than mere utterance of the notes, with an understanding of their deep significance. Her style is simple but remarkably graceful and effective, and it did not appeal in vain to the audience, which demanded a repetition of the first-named number. It is pleasant to record Miss Feilding Roselle's success in the field of oratorio.—Washington Post, December 29.
35The contralto, Miss Feilding Roselle, sang with much expression, and her beautiful voice, as well as her presence, gave evidently the greatest pleasure to the audience. The fine quality of her voice, as well as her insight into the significance of the music, were brought out in the aria "He Shall Feed His Flock Like a Shepherd," and her subsequent work maintained the same high mark which she reached in that rendition.—Washington Star, December 29.
37TOR VAN PYK,
38TENOR.
39Concert, Oratorio and Opera.
40For Terms, Dates, &c., address H. M. HIRSCHBERG,
4136 West 18th Street or 132 West 88th Street, New York.
43Carl Bernhard
44BASS-BARITONE.
45Oratorio and Concert.
46Vocal Studio: 157 East 47th St., New York.
47"He sings most tastefully, and, what is more, knows how to use his voice as well as those of his pupils."—Georg Henschel.
49GERMAN CHARITY BALL,
50GIVEN UNDER THE AUSPICES OF THE
51Bachelor Circle (German Liederkranz), Jung Arion (Arion)
52Beethoven Bachelors (Beethoven Maennerchor),
53AT THE
54METROPOLITAN OPERA HOUSE,
55Thursday, February 3, 1898.
56Tickets for sale at the Club Houses of the three Societies.
58CLEMENTINE DE VERE
59IN AMERICA
60SEASON 1897-98.
61RESIDENCE: HOTEL SAVOY, NEW YORK.
62BERNHARD ULRICH, Manager, 240 Roscoe Street, Chicago, Ill.
64LEOPOLD GODOWSKY,
65THE GREAT
66RUSSIAN PIANIST,
67Address for engagements
68CHICAGO CONSERVATORY,
69Auditorium Building, Chicago.
71CARL
72Returned from Stockholm Exposition, Crystal Palace, Queen's Hall (London), Nashville Exposition, &c.
73"A finished artist."—Dagens Nyheter (Stockholm).
74"An expert organist of the first rank."—Nya Dagligt Allehanda (Stockholm).
75"Manipulated the splendid instrument in Queen's Hall to perfection."—The Standard (London).
76"Great enthusiasm and applause."—Crystal Palace Herald (London).
77FOR OPEN DATES ADDRESS
789 WEST 22d STREET, NEW YORK.
80GEORGE
81HAMLIN,
82TENOR.
83Address FREDERICK J. WESSELS,
84Western Representative,
85Auditorium Tower, CHICAGO.
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