Scan 21
Musical Courier 1898-06-15: Vol 36 Iss 954, 1898
79 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 20. See the scan on archive.org.
1on an interminable air with variations. Then Vignol is asked to show off. He does not hesitate. In fact he is suspiciously acquiescent for one who expects no compensation except the tumultuous applause of money-loving groundlings.
3After an ominous pause Vignol exclaims: "I have it; I am going to do for you the little scene of the gentleman who takes his piano to pieces to find a musical note that has fallen into it."
5This idea is received with delight. "How clever, the idea of looking for a musical note that has fallen into a piano!" But let me give the rest in detail: one of two readings
7"I shall now begin," said the artist. one of two readings
8This idea is received with delight. "How clever, the idea of looking for a musical note that has fallen into a piano!" But let me give the rest in detail: "I shall now begin," said the artist. one of two readings
10A solemn silence followed these words.
12First Vignol removed the candles from the piano and deposited them carefully on the floor; then he took down the candlesticks and ranged them beside the candles. This done, he folded up the cover of the instrument and laid it down beside the candlesticks, after which he raised the top and took out the large front panel.
14All these preliminaries completed, he peered into the instrument, squinting fearfully and making the most comical faces; and after this examination, which was accompanied by exclamations of astonishment. "Extraordinary!" he murmured, "I cannot find the note!"
16At this everybody laughed consumingly.
18"I must find it," he continued, with grotesque rage; "I cannot afford to lose a note," and the company became almost hysterical.
20Next our practical joker, apparently animated by a frantic desire to succeed in his search, took out the keyboard and various parts of the interior mechanism, incessantly repeating, in the most heartrending accents: "It is most extraordinary! But I'm sure it's in there. I must find it in the end!" and to make sure, with the feverish haste of a miser looking for a lost treasure, he finally took out all the hammers, and ranged them symmetrically about him on the floor. Still he found nothing.
22"Now I would have taken my oath that note fell into the piano. I must have been mistaken, however. Heavens, how warm I am!" he exclaimed, wiping his forehead, "I must have something to drink."
24A tray filled with various liquids was pressed upon him, and after drinking several glasses of punch, "Ah, I feel better now," he declared, and he dropped into an easy chair and began to fan himself with his handkerchief.
26"This is a very amusing beginning," said the host, when he thought Vignol was sufficiently rested, "but I'll wager the second part is funnier still."
28"The second part!" repeated the joker, looking at him with an astonished air. "What second part?"
30"Why, putting the piano together again, of course."
32"Oh, that's a trick I know nothing about. You'll have to get a piano maker to do that," and, rising, he continued: "But pardon me, I am expected at another reception, and though I regret exceedingly that I cannot remain and enjoy this charming reunion, I must tear myself away."
34With these words, he took his hat and coat, bowed respectfully, and disappeared, leaving the dumbfounded company staring at the dismantled piano, from which they could not hardly expect the music for the dance that was to have concluded the evening's festivities.
36As to Vignol, he was very well satisfied with himself, especially as the author of the following classification, which is to be found in no published treatise on natural history: Man, the ape, the negro, the bourgeois and the oyster.
38* * *
40I cite this amusing anecdote to prove that French writers are not always lubricious. Matthew Arnold once wrote that the Goddess of Lubricity was worshiped in Paris. At least she is worshiped in the market place and not secretly, as in this country, giving rise to the indescribable hypocrisy of our national life, the insincerity of our culture, religious and aesthetic, and to the depressing morale of village life from New England to California. Little hope for broad, generous and ennobling culture, musical or literary, when the masses are ruled by the bigots, prigs and prudes. Pfui Teufel!
42Boston Music Notes.
44BOSTON, June 11, 1898.
46MISS BERTHA CUSHING, who sailed for England in May to fill her engagements for the London season, has been obliged to leave for the Continent, the smoky atmosphere of that city having affected her with a slight hoarseness, but sufficient for her to feel it unwise to sing there. All her engagements have been canceled by the advice of her physician, which entails a great disappointment upon this young singer. The balmier air of France will, however, put Miss Cushing in fine condition for her winter's work in this country, which it is confidently expected will prove a triumph for the young artist.
48The closing exercises of the Faelten Pianoforte School will take place at Steinitz Hall on June 20 and 21, afternoons at 2:30 and 4:30 and evenings at 8. The programs have been arranged with a view to showing the excellent work done by the pupils of this school.
50The eighth annual festival of the Choir Guild was held in the Church of the Advent on June 8. The choirs taking part were Advent, Boston; St. Paul's, Brockton; St. Paul's, Brookline; St. John's, Jamaica Plain; Holy Trinity, Marlboro; Trinity, Melrose; St. Mary's, Newton Lower Falls. S. B. Whitney was choirmaster, Harry E. Wry organist. The object of the Choir Guild is "to foster a taste for and to introduce a high standard of church music among the parishes of the diocese." Certainly the music given at the festival was of a high order and reflects great credit upon those who have so ably carried out the purposes of the guild.
52Miss Gertrude Gardiner has closed her studio after a busy and successful season of work. She will begin her next winter's work on October 1. Miss Gardiner will attend the meeting of the Music Teachers' National Association, to be held in New York in the latter part of June.
54A piano recital to illustrate the Faelten system of fundamental training and musical instruction was given at the Quincy Mission School, at Wollaston Park, on June 9. A large number of prominent Quincy people were present and the recital was very successful. The Faelten course will be introduced there next autumn.
56Walter S. G. Kennedy has composed for the first grand patriotic concert to be given by the Worcester Music Festival Chorus, for the benefit of the Volunteers' Aid Association, June 16, a soprano solo and chorus entitled "Union and Liberty." The words, by Oliver Wendell Holmes, have the true patriotic ring. The song is dedicated to the president of the Worcester County Musical Association.
58The order of exercises of the commencement week of the New England Conservatory of Music have been sent out this week. Thursday, June 16, graduates' recital of the School of Oratory, at 8 p. m.; Saturday, June 18, reception to graduating class by Mr. and Mrs. Richard H. Dane, 4 p. m.; June 19, baccalaureate sermon by Rev. Reuen Thomas, in Sleeper Hall, at 4 p. m.; June 20, recital of graduating class, in Sleeper Hall, at 8 p. m.; June 22, commencement exercises in Tremont Temple, at 2:30, with the alumni reunion and banquet at 7:30.
60Van Vechton Rogers, the harpist, who recently returned from a six weeks' annual tour with the Boston Festival Orchestra, as usual met with great success. He appeared as harp soloist in many of the principal cities of the South and West, including Washington, Richmond, Norfolk, Charleston, Savannah, Birmingham, Louisville, Madison, Grand Rapids and Chicago. Mr. Rogers will leave Boston for the summer July 1.
62The review of W. J. Henderson's new book, "What Is Good Music?" by Homer A. Norris, will be found of much interest by students and all interested in the subject of music.
64Charles F. Hanson, agent for the Sohmer piano at Worcester, has found time during the dull season to complete the score of a grand opera, which will be produced in November or December next. The title of the opera is "Frithjof and Ingleborg," and is a dramatization of Bishop Esaias Tegner's "Frithjof's Saga," by Miss Anna Cronhjelm Wallberg, of Worcester. The opera is in three acts and nine scenes, all laid in Norway and the Orkney Islands, and the time is set before the introduction of Christianity. The characters are Frithjof, son of Thorstein, the peasant; Helge and Halfdan, kings of Northern Norway; Hilding, a foster brother to Frithjof; Bjorn, a friend to Frithjof; Ring, king of Northern Norway; Ola, Ring's servant; Ingeborg, Helga's sister; Gerda, her attendant; a warrior, a bard and a priest, with a chorus of courtiers, ladies, warriors and peasants. Mr. Hanson has composed and produced several light operas, such as "Princess Phosa," "Tyrolian Queen," "Gipsy Queen" and "The Enchanted Forest," which have been very successful; a sacred cantata, "The Coming of the Bridegroom," and "Lays of Sweden," but this is his first attempt at grand opera and what he considers his greatest effort. He will at once begin the selection of Worcester artists for the production, and assume the work of rehearsal as soon as the selection is made.
66MR. HILL'S CONCERTS AT HAVERHILL.
68A series of five piano recitals by his pupils has been arranged by James W. Hill, the proceeds of which will be donated in their entirety to the soldiers' relief fund. The first was given at the First Universalist Church at Haverhill on Saturday, and was of the highest order of excellence.
70Nearly all the young artists who contributed to the long and varied program were from other cities and towns than Haverhill, and the fact that the interest of the audience was held until the last number was, under the circumstances, the best tribute to their powers. They were fortunate in having the assistance of such well and favorably known vocalists as Mrs. Margie Brickett-Davis, soprano, and Mrs. Ernest Gilman, contralto.
72At the second concert the pupils were from the younger classes, averaging about fourteen years of age. The vocalists assisting were Mrs. John H. Mitchell, contralto, and Miss Priest, soprano. The recital proved more than equal to the fondest expectations of the listeners, and was fully as successful as the first of the series.
74The program of the third concert was given entirely by two young ladies, Miss Edith Kimball Eaton, one of Mr. Hill's more advanced pupils, and Miss Grace Farwell Bullock, a promising young soprano.
76Miss Eaton is a pianist of more than ordinary talent and is fitting for the concert stage. She played the difficult numbers of her portion of the program from memory, and displayed an absolute knowledge of the composers she had chosen to interpret. Her touch is light and sympathetic, but forceful and vigorous when occasion demands. She follows the idea of the composer closely, and takes few liberties with the tempo or theme. The expression produced is really remarkable in so young a player, and it is sufficient to say that she played her best.
78Miss Bullock is a pupil of Warren Davenport, of Boston, and is certainly giving excellent promise of fulfilling all the predictions which have been made for a brilliant future in vocalization.
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