Scan 19
Musical Courier 1900-10-31: Vol 41 Iss 1075, 1900
125 lines. Read by computer on 21 September 2026. Printed page 20. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1THE MUSICAL COURIER.
2PUBLISHED EVERY WEDNESDAY
3BY THE
4MUSICAL COURIER COMPANY.
5(Incorporated under the laws of the State of New York.)
6St. James Building, Broadway and 26th St., New York.
7TELEPHONE: 1720 Madison Square.
8Cable Address: "Pegujar," New York.
9ESTABLISHED JANUARY, 1880.
10No. 1075.
11MARC A. BLUMENBERG – – EDITOR-IN-CHIEF.
12NEW YORK, WEDNESDAY, OCTOBER 31, 1900.
14BERLIN, GERMANY (Branch Office)-
15Linkstrasse, 17 W., in charge of Mr. Otto Floersheim.
16Single copies for sale at the music store of Ed. Bote & G. Bock.
17Leipzigerstrasse 39, W.
18All advertising business in Germany and Austria-Hungary must be done through our Berlin Branch Office, W. Linkstrasse 17.
20DRESDEN-
21Mrs. E. Potter Frissell, care Robert Thode & Son, Dresdener Bank, Pragerstrasse.
22Single copies for sale at H. Bock's, Pragerstrasse 12.
24LEIPZIG-
25Rosenthalgasse 121. Mr. Alvin Kranich in charge.
27LONDON, ENGLAND-
28Fannie Edgar Thomas, 32 Bloomfield Road, Maida Vale, N. W.
29Single copies are for sale at F. Batson's, 82 Grosvenor Street, Bond Street, W.
31PARIS, FRANCE-
32The Marlboro, 24 Rue Talibout, Fannie Edgar Thomas in charge.
33Single copies for sale at Brentano's, 37 Avenue de l'Opera; 37 Rue Marbeuf; Gallignani Library, 224 Rue de Rivoli; Shakespeare Library, 75 Avenue des Champs Elysees.
35ITALIAN (Branch Office)-
365 Via Rondinelli, Florence, Italy, Mr. Joseph Smith in charge.
38CANADIAN OFFICE-
39In charge of Miss May Hamilton. Address Main Office, New York City.
41CHICAGO OFFICE-
42224 Wabash Avenue, Mrs. Florence French in charge.
44ST. LOUIS-
45Controlled by Chicago Office.
47MILWAUKEE-
48Controlled by Chicago Office.
50INDIANAPOLIS-
51Controlled by Chicago Office.
53CINCINNATI OFFICE-
54410 Pike Building, J. A. Homan in charge.
56BOSTON OFFICE-
5717 Beacon Street.
59BROOKLYN OFFICE-
60Hotel St. George, Clark, corner Henry Street.
62PHILADELPHIA OFFICE-
634230 Regent Square, Mrs. D. L. Souder in charge.
65PITTSBURG OFFICE-
66926 Ivy Street, Shadyside, Mr. Arthur Wells in charge.
68Subscription (Including postage), invariably in advance: Yearly, $5.00; Foreign, $6.00; Single copies, Ten Cents.
69All subscribers at present on the list constituting "The Musical Courier" subscribers during the last twenty years will receive the paper at the rate of $4.00 a year as long as they continue. To all new subscribers the cost will be $5.00 a year.
71SPENCER T. DRIGGS – – BUSINESS MANAGER
73RATES FOR ADVERTISING.
74PER INCH ON ADVERTISING PAGES.
75Three Months………….$25.00 Nine Months………….$75.00
76Six Months……………..50.00 Twelve Months………..100.00
78ON READING PAGES.
79One inch, 3 months………………..$75.00
80One inch, 6 months………………..125.00
81One inch, 1 year………………….200.00
82Special rates for preferred positions.
83One page, one insertion…………….$300.00
84One half page, one insertion……….150.00
85One Column………………………..100.00
86All remittances for subscriptions or advertising must be made by check, draft or money order, payable to THE MUSICAL COURIER Company.
87Advertisements for the current week must be handed in by 6 P. M. on Monday.
88All changes in advertisements must reach this office by Friday 6 P. M. preceding the issue in which changes are to take effect.
90American News Company, New York. General Distributing Agents.
91"Western News Company, Chicago. Western Distributing Agents.
93THE MUSICAL COURIER EXTRA.
94Published Every Saturday During the Year.
95GREATEST ADVERTISING MEDIUM FOR ALL MUSIC PUBLISHERS AND MANUFACTURERS and IMPORTERS OF MUSICAL INSTRUMENTS OR PARTS THEREOF. ALSO SPECIALLY DEVOTED TO POPULAR MUSIC and VAUDEVILLE.
96For Particulars apply to "Saturday Extra Department."
98THE death of Sims Reeves, the veteran English tenor, serves but to recall the persistency with which the English nation clings to a musical favorite. Reeves' voice departed a quarter of a century ago, but Reeves sang to the last. The trait of gratitude is admirable—but what has is to do with art?
100CORNEVILLE, the little village in Normandy which suggested to Planquette his tuneful "Chimes of Normandy," has at last been given a real chime. Strangely enough this is the first time Corneville possesses bells. They were raised by subscription all over the world. So one comic opera has really accomplished something.
102KING OSCAR of Sweden gave Patti a jeweled badge at a recent concert in Stockholm. This singer is a remarkable specimen of vitality. Her voice is a mere thread, but her affection for her third husband, Baron Cederstrom, waxes with the year. She has just settled an annuity upon him of $15,000. So the King of Sweden is but rewarding her for her kindness to one of his subjects.
104WEBER, in Berlin, announces the completion of the first volume of the second edition, revised, corrected and enlarged, of Thayer's "Ludwig van Beethoven's Leben." The translator of the original work, Dr. Hermann Dieters, has made the revision, and is now at work writing the concluding volume from the data placed in his hands by Thayer's heirs. As soon as this volume appears work will be begun on the English edition, which is to be published by Charles Scribner's Sons. We understand that H. E. Krehbiel is now at work on the English adaptation—rather than a mere translation—of this important work.
106ATTENTION is called to an article in this week's paper on violins written by the greatest authority of the present day, George Gemünder, formerly of Astoria, L. I., now a resident of this city. Mr. Gemünder is the official expert on violins of the Custom House and of the Treasury Department, Washington. George Gemünder is also the official expert of the courts of the State of New York on the question of violins—old and new, and what comes from his pen is of greater importance on this subject than any documentary statements issued from any other sources.
108NO two men could be more of a contrast than Brahms and Bruckner. The former a North German, neat in dress, polished in manner, a Puritan in musical logic; the latter a South German, a child of nature, naif throughout, dressing in a weird provincial style; the former exalted to the skies by a portion of the Viennese critics, the latter torn to bits by the same critics. No wonder that though they lived for years together in Vienna, they never were drawn together, but carefully avoided each others' company. Their admirers and partisans made the matter worse. But one day there was an armistice. Negotiations were carried on for the two masters to meet on neutral ground.
110Brahms' stamping ground, the "Blue Hedgehog," was chosen in spite of its prickly title for the meeting place. The fated day arrived. Great was the expectation of both parties. Long before the appointed hour Bruckner appeared at the "Blue Hedgehog," and sat down to enjoy himself. He ordered "Tripe and pudding" and set bravely to work. Time passed. The appointed hour had passed but no Brahms. The guests waited in depressed anxiety. At last, very late, the door opened and "enter Brahms," with evident confusion on his blushing face. But the event was a success. There were Brahms and Bruckner at last at the same table! But it was a melancholy success. Nobody dared to say a word. It was all as stiff as stiff could be. The Brahmsians on one side, the Brucknerites on the other. What had the two parties in common, parties that had been talking and writing about each other in anything but chosen language? It was a terrible moment, and the negotiators of the meeting sat dumb and disappointed. At last Brahms broke the silence and asked for the bill of fare. He looked at it with a kind of forced geniality. "Now let us see what there is to eat." He looked over the card, and then suddenly said: "Pudding and tripe. That's my favorite dish! Kellner, pudding and tripe!" Then Bruckner turned to him and said, "Bless us, Doctor, pudding and tripe! There is the point where we two agree!"
112Then everybody burst into laughter, the ice was broken, and a pleasant evening was the result.
114MOSHE GRAU with his lesion of honor and his legion of stars is back in the only land where either he or they can make a dollar beyond their expenses. What a strange commentary it is on musical affairs in Europe that those opera singers that are here called the greatest cannot secure any remunerative engagements in those countries from which they are said to secure their reputations. Why do they constantly, inevitably come to the United States until they are unable to declaim a single note if their services or their art has any value in Europe; or is Europe deaf? Madame Calvé does not sing in Europe, not enough to pay one week's engagement here. Jean de Reszké, the leader of the tenors who come here and next to whom none of them can shine, does not sing on the Continent of Europe. No one ever heard of Gadski, and as to the others they receive no salaries of any consequence. Is Europe deaf or are our people not chumps?
116SATURDAY EDITION.
118THE regular Saturday edition of THE MUSICAL COURIER, known as THE MUSICAL COURIER EXTRA, appeals to the popular element of music and to the host of people that are interested in the musical industries. Recent changes and enlargements of this paper and the widening of its scope, after years of publication, have made it interesting to the regular readers of THE MUSICAL COURIER. On and after this date it can be found on the news stands, the same as the Wednesday edition. It covers the ground of popular music, operettes, band music, vaudeville, &c., together with the musical industries, and makes an interesting epitome every week of what transpires in that musical world of its own.
120IT WAS THE CAT.
122A CERTAIN "Riter Fitzgerald"—is this really a live person, or only the office cat dabbling in paste?—has recently attempted to prove in a series of bumping and staccato paragraphs that Philadelphia no longer wants the Boston Symphony Orchestra. The writer—or the cat!—thus "shoos" away Boston and its famous band: "Go away, Boston, Orchestra, we do not want you any longer!"
124The cause for this feline warning is the news that Philadelphia has a permanent symphony orchestra of its own; has Fritz Scheel as conductor—therefore the Boston Symphony Orchestra is no longer needed within the city walls. This stupid assertion is sent to oblivion by the fact that Philadelphia will spend much more money at the Boston Symphony concerts this season than it has ever done before, and this, too, despite the tasteless comparison of the methods of Gericke and Scheel. The conducting of Mr. Gericke we know; of Mr. Scheel's work we have only hearsay evidence. Furthermore, an orchestra
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