Scan 22
Musical Courier 1898-06-15: Vol 36 Iss 954, 1898
90 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 21. See the scan on archive.org.
1San Francisco, 130 Kearny Street. one of two readings
2(no line here) one of two readings
3San Francisco, Cal., June 8, 1898.
5"Consistency thou art a jewel."
7In one breath I was told that there was no teacher here from whom a certain woman's daughter could learn anything, and that San Francisco stood on a musical level with any place anywhere. It is unfortunate that this woman is not unique in her lack of consistency, but is one of many who holds back progress in San Francisco. Yet she was mistaken from all sides. There are many teachers here of great capability who could teach anybody's daughters a great deal, and San Francisco could stand a great deal of improvement in the proper places which would add materially to the advancement of musical culture in this rushing Western centre.
9Does San Francisco suffer from self-satisfaction? If so, this is a serious cause for stagnation, for whatever does not move onward moves backward, and to feel oneself on a level with cities, where no day passes without some movement to better conditions, is a mistake which leads to fatal results in San Francisco.
11From all sides I hear, "You must remember that this is a young city; wait until we are older and the appreciation for art will be here." Pardon the question: How will it get here? Will the people who are now grown up and in twenty years will be, to say the least, considerably older, advance materially? Do people really think that the study of music, as society studies it, is going to bring about a musical atmosphere, or represent a high degree of musical culture? Certainly not! Because if this were the case nothing could be in a more healthy condition to-day, when you stop to think that the teachers, as far back as the sixties, where such men as Trenkel, Kuhne and Hartman, and ever since that time San Francisco has had the most reliable, most dignified, most scholarly teachers. What is being done to-day that will bear fruit in twenty years? There can be nothing to bring about a changed condition except it come through the children of to-day, not the children of the exclusive few (who will probably go to Europe to study), but the children of the people, the great, grand American people, who have built up this country by a lavish of free education—in other words, by the public schools and the churches. Through what can a general musical education come if not through the same avenues? This leads me to say again that it is a serious privation to the young people that music is not given in a systematic course in the public schools, and if it is done at all it is done with the feeling that anybody is good enough for that kind of teaching, instead of realizing that here, where it may be all they will ever get, there should be those who are competent to impart in such away that the pupils will derive a practical knowledge, so that they may be able to join choirs, choruses, choral societies, &c. Of course, some of the churches devote care to the music, but not all. The great portion of choirs are very poorly paid; consequently the music is not what it should be, and organ recitals, either free or at a small fee, are entirely unknown, so that the organ as a great, magnificent instrument, a concert instrument, is something yet to be learned in San Francisco. This does not refer to the recitals given by Eddy, Carl, Warren and Morgan, who had of course the same influence upon the conditions that Ysaye or Rosenthal would have where hundreds hear them and thousands either neglect to or cannot afford it.
13I am glad to chronicle that Mme. Anna von Meyerinck has classes in sight-singing, including rhythmical and oral exercises, musical dictation and music writing. Whereas this is a great step in the right direction it still does not touch the class of people and in such a general way as would be necessary for a permanent advancement. What is distinctly and absolutely necessary is a sight-singing class among the people on the same lines that William Tomlins worked in Chicago. For this broad work, which requires a man peculiarly adapted for it, David Loring continually is presented to my mind. His attitude toward music in San Francisco has always been of the most beneficial nature. He is always unselfish, thorough and painstaking, and above all of a sympathetic, magnetic nature, and he could carry such work to a glorious height if someone would only start the scheme. Mr. Loring could also give it the time, as he is not working in professional fields, and lack of time prevents many of the San Francisco professionals from doing things which they would be glad to do.
15I am delighted to state that Portland, Ore., has taken steps to organize a fine chamber music course, under the auspices of the Musical Club, which is doing such magnificent work that I desire to express my admiration for the sincerity with which these ladies work and have raised the standard of music in that city. It would be a valuable acquisition to San Francisco if it were the home of a club of the nature of the Musical Club of Portland, Ore.
17I cannot quite abandon the subject of chamber music without a few words in reference to the possibility of having some work here this coming season. When a city has the material, the demand and the money to support it, what can be the reason of its "innocuous desuetude"? Let us arrive at the decision that it is business management (that convenient cloak which covers such a multitude of sins). It surely is not a pleasant occupation for an artist to go among his friends with a paper and a pencil asking their assistance, as though it were for his own personal benefit, instead of being a benefit to the community at large. Many of our best musicians would rather give their services were it not for the obnoxious precedent that they would establish by so doing; so the matter drifts or rather rests. The easiest way of adjusting this would seem to be by engaging a business manager to see the friends of the quartet, the friends of music, those who represent the patrons of music for music's sake, and get some sort of life into the matter. Please don't tell me there is no interesting talent here, because I feel in position to be able to say that I know that it does exist. Please don't tell me that the people do not care for this class of music, because in the first place that would be an open admission that there is a lack of musical refinement here; and, secondly, the audiences attracted to the Symphony concerts must prove something to the contrary. Ergo: If San Francisco has the musicians (which it has) and San Francisco has the money (which it has) and the culture (which it has), where are the chamber music concerts? (which it has "not.")
19I know this is extremely plain talk, but these are extremely cold facts.
21I have been informed that Mrs. Mary Cheney Clark, of 2218 Webster street, teaches the Virgil method. I announce this by request of several who called to ask concerning the method after my statement appeared.
23A splendid concert was given at the Baldwin Theatre for the benefit of the Red Cross Society by Fritz Scheel and his orchestra. I have never heard these men play more superbly than upon this occasion; in fact, every time they play there is distinct improvement, and even now their work is the most valuable to which San Francisco is privileged. Time will do great things for this orchestra. In tendering a vote of thanks to those who gave their services for this occasion the Rev. Nieto gave the most impressive address it has ever been my privilege to hear. I append the personnel of the orchestra, many names of which will be familiar to the Eastern and European readers, as some of the musicians have had highly successful careers in large musical centres.
25Giulio Minetti is concert master and Mrs. Breitschuck-Marquardt harpist.
27First Violins—G. Minetti, W. F. Zech, F. Stark, I. Feuster, C. Milner, F. Hess, W. Lind and W. von der Mehden.
29Second Violins—L. N. Ritzan, P. Egry, M. R. Fleischman, W. Callinan, S. Savannah, T. Keogh and E. Weigel.
31Violas—B. Taulus, C. Heinsen, F. Knell, H. F. Hock and L. Kowalski.
33'Cellos—A. Weiss, R. Lent, F. Meyer, R. Patek, L. Langstroth and C. Toepeke.
35Bass—H. Seiger, T. Spiller, A. Munoz, C. Goerlich, C. Mundwuyler and F. Angerstein.
37Flutes—A. Rodemann, A. Paulsen and P. Johannsen.
39Oboes—T. L. Mundwuyler and E. Martinez.
41Cor Anglais—Louis Mundwuyler.
43Clarinets—T. Wrba and R. A. Baumgaertel.
45Bassoons—A. Beetz and T. Mundwuyler.
47Horns—E. Schliot, O. Schliot, F. E. Huske and W. Dabelow. one of two readings
48Horns—E. Schlott, O. Schlott, F. E. Huske and W. Dabelow. one of two readings
50Trumpets—E. Keller, C. Horst and C. Steffen.
52Trombones—W. H. Colverd, H. Bellmann, L. Klotz and W. Tischbein.
54Tuba—C. Goerlich.
56Tympani—T. F. Hopkins.
58Drums—M. Davis and A. Oberbeck.
60After the concert program Pilar Morin appeared in a charming little bit of acting, in which she added speech to her finished art of pantomime. The sketch in which she appeared was written for her by Hubert H. Davies, of the San Francisco Newsletter, and was an artistic piece of work. For the great possibilities of Pilar Morin the sketch would have admitted of much broadening and enlarging, which will probably be done in the event that she uses it in the East. Her accent in English is enough charm even without the fascination of her pantomimic art. In fall she will join May Irwin, when she will do a speaking part.
62Of Aimé Lachaume, her talented husband, I have heard that his intentions are to return to France, where he is compelled to enter military service. There was talk of his
64CARL one of two readings
65Seidl Society one of two readings
66CARL Seidl Society one of two readings
67For Opening Concert, Season 1898-99.
68FOR TERMS, DATES, &c., ADDRESS 9 West 22d Street, New York.
70SUMMER VOCAL STUDY.
71George M. GREENE.
72SPECIALIST in the DEVELOPMENT of the VOICE.
73Mr. Greene will receive pupils in New York from June 15 to July 26.
74In MACATAWA PARK
75(A delightful summer resort on the eastern shore of Lake Michigan, steamer connection with Chicago and Milwaukee), from August 1 to September 1.
76Voice Culture, Lectures, Recitals.
77Teacher's Diploma to Successful Candidates.
78Address F. X. ARENS, 305 Fifth Ave., New York.
80NORMAL COURSES,
81Embracing all branches of one of two readings
82VOICE PEDAGOGY one of two readings
83Embracing all branches of VOICE PEDAGOGY one of two readings
84in New York from June 15 to July 26.
85In MACATAWA PARK
86(A delightful summer resort on the eastern shore of Lake Michigan, steamer connection with Chicago and Milwaukee), from August 1 to September 1.
87Voice Culture, Lectures, Recitals.
88Teacher's Diploma to Successful Candidates.
89Address F. X. ARENS, 305 Fifth Ave., New York.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.