Scan 27
Musical Courier 1898-05-25: Vol 36 Iss 951, 1898
57 lines. Read by computer on 23 September 2026. Printed page 28. See the scan on archive.org.
1139 Kearny Street,
2SAN FRANCISCO, Cal., May 17, 1898.
4CONDITIONS IN SAN FRANCISCO.
6WITH proper nourishment the field of San Francisco is one where the most sincere work might have full sway and where it might accomplish great results, because, as it seems to me, there is less room for the charlatan here than in most places. If I were to say that anything holds back rapid strides, or rather more rapid strides, I should say that there is too much conservatism in San Francisco. I will not deny that much benefit is derived from this conservatism, because many of the older teachers are building great monuments for themselves by the pupils that are forming the present generation of workers, who, through being faithful to the old, tried and trusty, are receiving the full benefits of their deep and unquestionable knowledge.
8These teachers are for the greater part all Europeans, or are out of European schools, as they turned them out twenty or thirty years ago (not as they are turned out today), and they are really authorities on all that pertains to music.
10In San Francisco, unfortunately, too much importance is put upon the "European stamp of approval." Here I want to be thoroughly understood. I have all respect for those who have studied hard in foreign lands, as well as those who have studied here, but this absolute necessity of a European label tacked on somewhere is what is going to upset the whole scheme in San Francisco, because it is such a hollow, empty one. I think every teacher in the field is a pupil of Barth, of Klengel, of Halir, of Henschel, &c., but whether of five weeks, five months or five years makes absolutely no difference. Common sense tells that the work is not improved in the least by this little trade mark, for common sense will prove that two months or thereabouts will not put a man or woman on the same footing in actuality with those who have worked for years to gain this stand, and to whom Europe has meant something.
12Now, if there is one thing that the San Franciscans will not stand it is to be "taken in," and having trusted to this two-month pupil of some foreign well-known master and to that one, they have arrived at the point where they trust no one at all except the very old "standbys," with whom reputations have been built through actual results.
14This is well and good for the older teachers, who are simply crowded beyond all endurance, but for new people coming into the field there is little or no encouragement. This is a clear revelation of the short-sighted policy of European celebrities who sell their names for a few dollars, but through this policy America will and must come into her own. New blood is always an incentive to pushing things along, and why it should be kept out so rigidly is hard to understand.
16Many of the later methods and new ideas are entirely unused here.
18For instance, I doubt whether one teacher in San Francisco uses the Virgil Clavier as it should be used, or uses it at all for that matter.
20I have heard of no sight singing classes on the lines of those in the East. I have heard of no exclusive teacher of style, repertory and finish where other teachers and public singers may coach. That this is lacking, and that the necessity of this is very great is evident. This does not refer to the young pupils now in the hands of their teachers, because some magnificent work is being done, as I have told in these columns heretofore, but to older singers who have been away from the possibility of hearing artistic presentations, and who do not avail themselves of the opportunities when they do present themselves. I have heard of no serious work of a musical nature in the public schools.
22Now, if all these things exist they exist so quietly that I have not heard of them, and could get no information on the subject.
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26San Francisco, I think, is kinder to its local composers than Eastern cities, and yet, strange to say, it has no manuscript club, and there are a number of men who do serious work, some of whom are members of the Manuscript societies of New York and Chicago, which is of little value to them outside of the name of it. A manuscript club in San Francisco would be of benefit to all workers in this field, both as a bond between the musicians and as an example and stimulus to the generation of musicians just coming on.
28Among those whom I understand to do important work in composition are Frederick Jech, Jr., W. J. McCoy, Samuel Fleischman, H. B. Pasmore, Adolphe Locher, A. Lyeal, Pierre Douillet, P. C. Allen, John Metcalfe, John Harradan Pratt. Of course there are others of whom I do not know, and I have only heard work of Pasmore, Jech and Adolphe Locher. Of Jech's work I have spoken, and of Locher's I feel free to say that it would command respect anywhere. He is thoroughly French, and his compositions, which are original in a high degree, reflect his nationality and its temperament. A set of dramatic baritone songs are written upon the text of Jean Richepin, and will make Locher known some day.
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32Two notable affairs have occurred this week, i.e., the testimonial concert to Fritz Scheel and the Kneisel Quartet concerts. The concert at the Metropolitan Temple was an astonishingly meritorious affair, and upon such an important event as the first presentation in San Francisco of Beethoven's Ninth Symphony in full it was somewhat strange, to say the least, that there was not a larger audience.
34There was every evidence that Mr. Scheel's friends were there, but I would have preferred to see Beethoven's friends there, and I think Mr. Scheel would have preferred to know that the great masterpiece that he was privileged to give the first time in this city had interested music lovers and students, besides those who would go anywhere that Scheel appeared. During the concert Giulio Minetti, the efficient concertmaster, who is Scheel's right hand, presented him with a beautiful silver wreath on behalf of the orchestra.
36In Scheel's acknowledgment he made some highly appropriate remarks, thanking the orchestra for its interest in the work and the desire to accomplish serious worthy results, and he also said that the great debt of gratitude was due Louis Lisser, whose efforts were titanic to make this orchestra possible in San Francisco. This last remark was received with the greatest enthusiasm, for Lisser is the man whose position in San Francisco is unique, due to his unflagging endeavors for the best, the highest and the most earnest.
38The Tschaikowsky overture of "Romeo and Juliet" was beautifully given; the depth of color and the intricate weaving of the motives were made intelligible to the hearers.
40It is to be regretted that numbers on a program are changed without announcing it to the audience. In the first place, if music is to be an education let it be so in the fullest possible sense, besides which a music critic cannot be expected to have the whole of orchestral literature in his head, especially out here, where there is less opportunity to hear music of this class. An andante with variations of Beethoven was given instead of "Death and the Maiden" of Schubert, and not having been announced a sudden noise of the bows against the violins in muting the strings was mistaken for the death rattle. No, Schubert is not Richard Strauss.
42The pièce de resistance was of course the great choral symphony, and I am sure that nothing could have been more forcible evidence of the sincerity of purpose than the fact that some of the foremost musicians in San Francisco assisted the Apollo Choral Society, and that H. B. Pasmore, the able director of this body, took his position with his chorus and sang under Scheel's baton.
44The presentation throughout was dignified and musically. What has been done, notwithstanding the limitation under which they are working, is nothing short of remarkable, for the volume, body and exactitude was fine, and the blending of the voices and the orchestra was all that could have been desired.
46The soloists, who were all satisfactory, with especial commendation for Signor Abramoff, the basso, were Miss Millie Flynn, Mrs. Florence Scarborough and Frank Coffin.
48Whereas the Ninth Symphony was the raison d'etre of the concert, it had scarcely created more interest than the first production on any stage of the "Star of Bethlehem," a chorus with tenor solo and orchestra by H. B. Pasmore.
50The composition is a fine one, and shows the deep, thoughtful musician, which Pasmore is beyond a doubt. It is of about ten minutes' duration, and holds the interest from the point of melody, interesting development and originality of form. It is of interest to note that Shakespeare, of London, with whom Pasmore has studied, has accepted the dedication, and it will in all probability receive a London presentation this summer.
52The tenor solo was assumed by Frank Coffin, whose voice is good, but rather light.
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56The Kneisels are here, delighting the musicians beyond description with the perfection of their art. Any detail would be superfluous, for the Kneisels are only creating the same furore here that they do everywhere they play. A large reception is to be tendered them on Wednesday night after their concert by the Orpheus Musical Club, of
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