Scan 11
Musical Courier 1898-08-15: Vol 37 Iss 962, 1898
76 lines. Read by computer on 21 September 2026. Printed page 12. See the scan on archive.org.
1THE MUSICAL COURIER.
2PUBLISHED EVERY WEDNESDAY
3BY THE
4MUSICAL COURIER COMPANY.
5(Incorporated under the laws of the State of New York.)
619 Union Square, New York.
7TELEPHONE: 2437 18th.
82438 18th.
9Cable Address, "Pegujar," New York.
10ESTABLISHED JANUARY, 1880.
11No. 962.
12MARC A. BLUMENBERG – – EDITOR-IN-CHIEF.
13THE BERLIN, GERMANY, Branch Office of The Musical Courier, Linkstrasse 17, W., is in charge of Mr. Otto Floersheim.
14Single copies for sale at the music store of Ed. Bote & G. Bock, Leipzigerstrasse 89, W.
15THE LONDON, ENGLAND, Branch Office of The Musical Courier, 21 Princes Street, Cavendish Square, Oxford Circus, W., is in charge of Mr. Frank Vincent Atwater.
16PARIS, FRANCE, The Musical Courier, 107 Avenue Henri Martin, is in charge of Fannie Edgar Thomas.
17Single copies for sale at Brentano's, 87 Avenue de l'Opera; 37 Rue Marbeuf; Galignani Library, 224 Rue de Rivoli; Shakespeare Library, 75 Avenue des Champs Elysées.
18THE VIENNA OFFICE of The Musical Courier, IV. Plosselgasse, III. Stock, Thür 34, is in charge of Emeline Potter-Frisell.
19All advertising business in Germany and Austria-Hungary must be done through our Berlin Branch Office, W. Linkstrasse 17, or through our Leipzig business office, Hainstrasse 31, Treppe C III.
20THE LEIPZIG, GERMANY, Branch Office of The Musical Courier, Markt 3 II., is in charge of Mr. Oscar Neumann.
21MEXICO: The City of Mexico office of The Musical Courier is at Calle de Ortega, 28, in charge of Isidor W. Teschner.
22CHICAGO OFFICE of The Musical Courier is at 224 Wabash Avenue.
23BOSTON OFFICE of The Musical Courier is at 17 Beacon Street.
24MILWAUKEE OFFICE of The Musical Courier is at 817 Newhall street.
25BROOKLYN OFFICE of The Musical Courier is at the Hotel St. George.
26LONDON: Single copies, Principal London Publishers.
27DRESDEN: Single copies for sale at H. Bock's, Pragerstrasse 12.
28Subscription (including postage), invariably in advance: Yearly, $4.00; Foreign, $5.00; Single copies, Ten Cents.
29SPENCER T. DRIGGS – – BUSINESS MANAGER.
30RATES FOR ADVERTISING.
31PER INCH ON ADVERTISING PAGES.
32Three Months………….$25.00 Nine Months………….$75.00
33Six Months……………..50.00 Twelve Months………..100.00
34ON READING PAGES.
35One inch, 3 months………….$75.00
36One inch, 6 months………….125.00
37One inch, 1 year……………..200.00
38Special rates for preferred positions.
39One page, one insertion……..$300.00
40One-half page, one insertion…150.00
41One column……………………100.00
42All remittances for subscriptions or advertising must be made by check, draft or money orders, payable to THE MUSICAL COURIER Company.
43Advertisements for the current week must be handed in by 5 P. M. on Monday.
44All changes in advertisements must reach this office by Friday 5 P. M. preceding the issue in which changes are to take effect.
45American News Company, New York, General Distributing Agents.
46Western News Company, Chicago, Western Distributing Agents.
47THE MUSICAL COURIER TRADE EXTRA.
48Published Every Saturday during the Year.
49GREATEST ADVERTISING MEDIUM FOR ALL MANUFACTURERS and IMPORTERS OF MUSICAL INSTRUMENTS OR PARTS THEREOF.
50For Particulars apply to "Trade Department," MUSICAL COURIER.
51NEW YORK, WEDNESDAY, AUGUST 17, 1898.
52The London MUSICAL COURIER is published every Thursday from 21 Princes street, Cavendish Square, Oxford Circus, W., London, England. This paper, while containing the salient points of THE MUSICAL COURIER, of New York, devotes special attention to music throughout Great Britain and the British Colonies.
53Specimen copies, subscriptions and advertising rates can be obtained by addressing the London office, or
54THE MUSICAL COURIER COMPANY,
5519 Union Square,
56New York City.
57FIRST SECTION
58National Edition.
59SECOND SECTION.
60THE First Section of the National Edition of THE MUSICAL COURIER, which appeared July 4, proved to be the most stupendous and imposing success in the history of music journalism. As that edition speaks for itself in no uncertain tones it is only necessary to refer to it and then at once pass to the statement that in order that it should appear on time it became necessary to defer many important articles and illustrations for publication in the Second Section, which is to appear in the fall, the date of the edition to be announced later.
61The Second Section of the National Edition has in fact been started with a large number of applicants who could not appear in the First Section for want of time. A list of these, embracing some of the foremost musical people of the land, can be seen in this office by all those who contemplate going into the Second Section.
62When the various sections of the National Edition shall have been published the complete edition will be bound in one huge volume for permanent use in libraries and institutions of learning, as well as in all musical institutions in Europe and America, as a matter of course.
63As a journalistic enterprise brought into being to demonstrate and illustrate the force, power, intellectual activity and greatness of one specialty in one nation, the National Edition of THE MUSICAL COURIER ranks as an unprecedented production. While other lines of artistic work may represent greater numerical strength, although this is questioned, no special profession, no single artistic pursuit combines in its membership a higher ideal or a more enthusiastic and lofty devotion to its pursuit and a greater faith in its ultimate triumph as a moral and intellectual agency than that of the musician—yes, we can with assurance say than that of the American musician, whose desire for progress and advancement on the most liberal basis conceivable to the modern mind is illustrated in the universal accord with which the movement for the nationalization of music in America is accepted and urged by him and by her.
64It may be doubted if ever in the history of music such enthusiastic unanimity has been experienced among the musicians of any one nation as this feeling now prevailing here among our musicians to assert themselves and their mission before an intelligent public. Through the National Edition of THE MUSICAL COURIER the people of America will learn for the first time and within the period of a few months what the extent, the greatness and the future possibilities of musical life in America really constitute, and the profession will learn to appreciate itself with a more profound comprehension of its inherent strength and its artistic scope.
65This paper has not editorially urged anyone to enroll himself or herself in this National Edition, but at this moment, when its success is already a part of history, it is well to say that those who desire to be enrolled in the Second Section should without delay make application, so as to secure position. The Second Section will not contain any articles or illustrations published in the First Section, but will be a volume entirely distinct in contents, although it will subsequently be bound with the First Section as part of the whole National Edition.
66Orders for the complete edition can be placed now.
67EMIL SAUER, the pianist, will introduce himself to the American public with the Beethoven "Emperor" concerto. On the same night, besides playing five important soli, he will also play Henselt's F minor concerto. The opening night of Sauer will be an event in music in this city.
68A BOGUS cablegram from Manchester, England, stated on the authority of the Courier of that city that Paderewski had lost the use of two of his fingers. This was on August 9, and on the day following the statement was contradicted; in fact, it was never seriously credited. How the Manchester Courier could have been made a victim of such a hoax is among the curiosities that arise in journalism.
69THERE are not many persons in this city who knew whether Emile Ollivier was dead or alive. The cabled reports of his recent accident recalls to some that he was once prime minister of Napoleon the Little, that he was Liszt's son-in-law, having married Blandine, Cosima's only sister, and was denounced bitterly by Victor Hugo for having caused the disasters of the Franco-Prussian war. Such is the folly of fame!
70THE Violin World for August calls attention to the fact that violin practice in moderation is extremely beneficial to piano players. The enforced agility of the fourth and fifth fingers of the left hand, the extension so valuable for small hands, and even the general wrist work of the bow arm—this is our own notion—are all excellent gymnastics. Best of all is that pianists who know something of stringed instruments are more musical in their treatment of the keyboard. Altogether the idea is a good one and might be discussed by piano teachers.
71And then piano playing can never be productive of ill effects to a violinist.
72IF you are skeptical on the subject of claqués in London read this paragraph from Cherubino's clever columns in the London Figaro:
73"The claque has been as great a nuisance as ever and has spoilt the chances of more than one of the newcomers, who were disconcerted and made nervous by the sound hissing of the claque by the paying public. Is it not high time that this wretched paid applause is stopped by the police? It certainly is conspiracy to applaud and thereby deceive the public, and it is considered by many artists as blackmail. These unfortunate foreigners pay the East end harpies, believing that if they do not do so they will be hooted.
74"Of course the management has nothing to do with the claque and place every impediment in the way of the harpies, who simply prey upon the ignorance of the foreigners.
75"I had some time ago an amusing conversation
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