Scan 5
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
156 lines. Read by computer on 21 September 2026. Printed page 6. See the scan on archive.org.
1comedy; one sincere and honest, the other exquisite duplicity.
3An American lady in Paris who has noted the interchange of fashion between the nations asserts that nowhere except in Paris is the duplication of models possible in its perfection. The copy in other hands becomes at once "mechanical." The life, the grace, the airy catchiness drops out of the material and the truth of its arrangement alone remains. The same person remarks that when a Paris worker in fashion lines takes up a residence of more than a few months in any other country she loses the finesse of taste perception, as a pianist who neglects his scales misses his skill.
5An agreeable feature of London is the youth to be seen there. In Paris one is impressed with age. Everyone seems old at first impression. In London there are quantities of young people about everywhere—newspaper boys, basket boys, messengers, in stores and offices, on carts, busses, trains, boys and young men; girls in groups or alone on the street, in stores and lunch rooms, free as birds, gay, bright and evidently behaving themselves; children with brothers, sisters and mothers, instead of "bonnes," and many nice little boys and girls on the street. There are also frequent stores with books and toys and educational apparatus for the young. Evidently children are an institution in England and youth has nothing to fear from contact with human beings. Even business men seem young. This all adds to the solid good cheer, comradeship, frankness, snap and real gaiety of London. In Paris, except through the febrile gaiety by epochs, there is a frisson of age and suspicion, of melancholy, over the city.
7A feature of this in London, which should be specially commented upon (as its opposite forms one of the disasters of Paris life), is the employment of young boys and men in positions occupied by frightful old mummies in Paris.
9In London a bright boy of ten, twelve or sixteen fills a position which in Paris three or four of those horrible old dried up men are fumbling over. These old creatures block passages to much useful activity in Paris. They are glued to their seats and to traditions like barnacles to a boat. They are incapable of receiving fresh impulses, or impressions, of seeing modern possibilities, of exercising a ray of common sense or enthusiasm. They are enemies to all progress and all change and all strangers. They are laden with fear and suspicion and crusted about with old parchment ideas. They are lazy and incompetent and lie like whiteheads to save themselves moving out of their chairs or searching for a piece of information. They are big and clumsy and slow, filling up doors and windows and are generally and wholly blocky.
11In London all this is different, although quite different yet from what it is with us. Young men and boys comprehend and answer and look and jump about. They are full of enthusiasm and readiness; they use common sense and think and see and smile and try. They are human.
13Of course, in a position of great trust and responsibility, a rollicking gamin would not be exactly the proper person. But before a small table with shallow empty drawer and nothing but a paste pot upon it, to see an old hulk of a man, his eyes faded with dozing, and his hands stiff from inaction, a bunch of keys as big as a jailer's in his pocket, his feet shod with lead—and to have him sit there blocking the passage to master or mistress with a tissue of lies, or with an incarnate stupidity and lack of interest in life (except in form of a pourboire), is to make one desirous of setting off a bomb under him. That is a Paris institution. Every active foreigner and many wide awake French people know and hate it.
15There is a refreshing absence of cigarettes in London. The whiff of a first-class cigar, most welcome and not uncommon, is reviving to an American who likes nice men.
17There are few news stands; none of the pictured and picturesque "Kiosques," of which Paris has five varieties, strung along her sidewalks like lanterns on a rope.
19There is less curiosity among the people in London than in Paris. Everyone seems to be minding strictly his own business and to have much of it to mind. You may stop, turn, arrange your dress, tie a parcel or open one on the street, and unless you ask for aid no one will glance in your direction.
21In Paris at the slightest movement or cessation of movement everyone of all classes is sent wild with curiosity. In less than two seconds a hive of staring people could form on a sidewalk.
23It is that the English mind, well fed by reading, by contact with other lives, by a really full life of its own, by competition, systematized plan, &c., is never hungry. The French mind, having no life outside of itself, is absolutely starved. It is devoid of personal resource, comparatively empty. Like a vulture upon a fallen carcass, it descends upon anything that offers it entertainment. Life is a vaudeville, a Guignol to the French, an arena to the English.
25After living in France it is a queer sensation to hear English all about. It is as if one were shut in a box and heard talking outside. It requires time both to comprehend
27CHICAGO ADVERTISEMENTS.
29THE SPIERING QUARTET, 708 Fine Arts Building, Michigan Boulevard, CHICAGO.
31FRANK T. BAIRD,
32THE ART OF SINGING.
3334 Monroe St., Chicago, Ill.
35MARY PECK THOMSON,
36SOPRANO.
37107 East 37th Street, CHICAGO.
39A. J. GOODRICH,
40THEORIST.
41Lock Box 976, Chicago.
42Author of "Goodrich's Analytical Harmony."
43"Goodrich's Analytical Analysis."
44"Music as a Language," &c.
45Personal or correspondence lessons in Harmony, Composition, Orchestration, Analysis and Theory of Interpretation.
47MR. & MRS. HERBERT BUTLER,
48Violinist and Soprano.
49Auditorium Building, Chicago.
51W. H. NEIDLINGER,
52VOICE BUILDER,
53Conductor,
54Fine Arts Building, CHICAGO.
56NELLIE SABIN HYDE,
57CONTRALTO.
58Oratorio, Concert and Recitals.
59Under Management CHAS. L. YOUNG, Townsend Building, New York.
60Western Manager: FLORENCE HYDE JENCKES, Fine Arts Building, Chicago.
62CLARA G. TRIMBLE,
63SOPRANO.
64Under Management FLORENCE HYDE JENCKES, Fine Arts Building, CHICAGO.
65"A FAULTY TECHNIC, the prime cause of inartistic piano playing, is the natural consequence of the neglect of consistent and logical methods of teaching and practice."
67THE VIRGIL PIANO SCHOOL OF CHICAGO,
681304 to 1307 Auditorium Tower.
69Under the direct supervision of Mr. A. K. Virgil.
70Special methods employed. Superior advantages offered. Class and private instruction. Instruction in artistic technic. $10 per term. Open all Summer, and pupils can enter at any time. Send for circulars.
71ANTHONY STANKOWITCH, Director.
72H. M. BRUNS, Manager.
74SHERWOOD
75Concerts and Recitals
76After January 1, 1900.
77BENNETT GRIFFIN, Manager.
78224 Wabash Avenue, CHICAGO.
80Sherwood Edition of
81Kullak's Seven Octave Studies.
82(HACTOR MUSIC CO., Philadelphia.)
83With analyses of music, interpretation and of modern methods for the student.
84For list of Sherwood's Compositions and Editions send to
85SHERWOOD'S MUSIC SCHOOL,
86Fine Arts Building, CHICAGO.
88NINETEENTH YEAR.
891899-1900.
90MRS. REGINA WATSON'S SCHOOL
91FOR THE
92HIGHER ART OF PIANO PLAYING.
93297 Indiana Street, CHICAGO, ILL.
95J. H. KOWALSKI,
96CELEBRATED VOCAL STUDIO,
97Suite 54 and 55, Kimball Hall,
98CHICAGO, ILL.
100ALFRED WILLIAMS,
101Basso.
102Sbriglia Method. Voice Placing. Concerts, Oratorio, Song Recital.
103Fine Arts Building, Chicago.
105ARTHUR INGHAM,
106Organ Virtuoso and Teacher.
107Pupil of Dr. Creser, Chapel Royal, London, Eng. St. Paul Cathedral, Springfield, Ill.
109JEANNETTE DURNO,
110Concert Pianist and Teacher,
111619 Fine Arts Building, Chicago.
112Address F. J. WESSELS,
113Auditorium Tower, Chicago.
115FRANTZ PROSCHOWSKY,
116Tenor Robusto.
117Under management of Mrs. Florence Hyde Jenckes,
118641-642 Fine Arts Building, Chicago.
120ADA MARKLAND SHEFFIELD,
121SOPRANO.
122Under management of
123Mrs. Florence Hyde Jenckes,
124641-642 Fine Arts Building, Chicago.
126Pupils accepted.
128NELLIE GERTRUDE JUDD,
129SOPRANO.
131VALENTINE FERNEKES
132TENOR.
133Under Management FLORENCE HYDE JENCKES, Chicago.
135EDYTH EVELYN EVANS,
136CONTRALTO.
137Address F. J. WESSELS, 1300 Auditorium Tower, CHICAGO.
139JAN VAN OORDT,
140VIOLINIST.
141OONOERTS REOITALS PUPILS.
142Fine Arts Building, CHICAGO.
144THE SCHUMANN TRIO.
145OPEN FOR ENGAGEMENTS. Address:
146Mrs. Florence Hyde Jenckes, Fine Arts Building, Chicago.
148HERMAN DOSE,
149Basso Cantate.
150Under management
151Mrs. Florence Hyde Jenckes, Fine Arts Building, Chicago.
153SYDNEY LLOYD WRIGHTSON,
154BARITONE,
155516 Fine Arts Building, CHICAGO.
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