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Musical Courier 1900-10-31: Vol 41 Iss 1075, 1900
83 lines. Read by computer on 21 September 2026. Printed page 33. See the scan on archive.org.
1FRANCE.
3The Grand Opera celebrated on October 6 a very curious jubilee, the 300th anniversary of the first performance of the first opera. The first opera—that is, the first work that can be considered as belonging to the class—was the "Eurydice," of Peri, to words by Rinuccini, and it first made its appearance on any stage on the marriage of Henry IV. of France and Marie de Medicis.
5It was only at the end of the sixteenth century that music, the greatest of the arts, joined the procession of the Renaissance, which had commenced its onward march in the plastic arts 100 years before. The Florentines proclaimed the doctrine that music was not an absolute art, self-dependent, but that it must be united with poetry and drama if it is to attain its highest development. The same principle was invoked by Gluck in his preface to "Paris et Hélène."
7It is remarkable that the engraved score was published in 1600.
9At the last examination at the Conservatoire there was, it may be remembered, a bit of a row about a young lady obtaining the grand prize, when in the opinion of most of the people present she certainly did not deserve it. Another protest against the decisions of the Conservatoire took place lately on the debut of a new tenor, M. Roucelière. He was enthusiastically applauded and repeatedly called before the curtain. He owed his triumph quite as much to the fact that he had been turned down by the Conservatoire as to the charm of his voice.
11Loud complaints are made about the wicked enchanter Grau and his beguilement of Mlle. Breval. It is perhaps just a time for Breval to come to that refuge of the poor and oppressed, America, for Mlle. Louise Grandjean, who replaced her as Chimene in the 101st performance of the "Cid," had a very great success. She had never played the part before, but she showed herself a great singer and a great actress, and the audience applauded, encored and recalled.
13Breval's departure is a loss to the opera. The baritone Renand will take a vacation of four weeks, Alvarez, the tenor, also takes a holiday, and Delmas is preparing to visit this happy land.
15M. Carré, of the Opéra Comique, has just officially received, "with great pleasure and great hopes," a new opera in four acts, "La Carmelite," words by Catulle Mendès. Raynaldo Hahn is the writer of the music.
17The model of the monument to be erected to the memory of César Franck has been transferred to a committee charged to decide what spot it must occupy in the Square Sainte Clotilde. It consists of an important piece of architecture, a portion of a religious edifice of the Middle Ages, with a central bay between two turrets and a group of figures, the genius of sacred music inspiring César Franck, who is seated at the organ, composing.
19Lassalle, who a year or so ago abandoned the operatic stage for business, has returned to his first love, music, and founded a musical and dramatic school in Paris. It is to be not only a school, but a little lyric theatre. According to M. Lassalle's professions, French composers will write pieces for the pupils, which will be staged and played with orchestra; thus composers will have a chance to show their mettle, as well as singers. Other innovations and marvels are also promised.
21A kind of symposium has been held in the columns of the Figaro, under the title of "The Conquests of the Century Music," in which many of the leading musicians express their opinions. Gailhard, of the Grand Opera, tells a pretty fairy tale which entitles him to be ranked with the most ingenious story tellers. He relates that in 1892 he obtained permission to produce the "Ring," but Constans, then Prime Minister, remarks: "You want to go through with it; all right, but begin with 'Lohengrin.' I will be responsible for the streets, you look after the auditorium." The manager learned that the anarchists were going to make a hostile demonstration, so he boldly called on the leading anarchist and announced himself, "M. Gailhard, of the Opéra." The anarchist looked surprised. "Why do you intend to hiss 'Lohengrin'? It is a beautiful work, which you will applaud when you know it better. But why do you, an anarchist, an enemy of all governments and all boundaries, do the work of the nationalists? Art, like anarchy, has no country." This Gallic bit of claptrap was too much for the anarchist. Gailhard gave him a reserved seat, and at the end of the performance found him applauding lustily and complaining of some miserable who hissed.
23M. Marty thought that the influence of M. Antoine and the Theatre Libre had been excessive. Opera and realism cannot go together. Opera must be conventional. "But I will not be interviewed."
25Guilmant, the organist, said that progress lay in adopting the polyphonic style, the degrees being:
26 Diatonic polyphony, as in Palestrina;
27 Chromatic polyphony, as in Bach and Beethoven;
28 Omnitonic polyphony, as in Richard Wagner.
29"Omnitonic" is a noble word.
31Rousseau does not fear any reaction against polyphony, not even that of Wagner. The artist is the only judge of the means he must employ to produce emotion. What is complex to-day will be commonplace to-morrow. To the question, "Are we better musicians than our fathers?" he replied, "Yes."
33Bourgault-Ducoudray becomes poetical. He calls modern orchestration "the sonorous robe whose magic splendor recalls the flashes and iridescent hues of an enamel." Instrumental polyphony, by its incomparable flexibility, gives unlimited power to symphonic development.
35"Yet," he adds, "with such ministers at the command of the ideal, where is the idea? It wanes as technic waxes. Let the young school create a new school by drawing nobler inspiration from the eternal fountain of popular melody."
37That bright little opera bouffe "M'zelle Carabin" is going to be produced in Russia.
39Some of Flavie Van den Hende's Press Notices.
41Possibly the artist who seemed to please most was Miss Van den Hende, the 'cellist. She is decidedly the best heard in Galveston. While, of course, she cannot play as powerfully as some of the male artists we have listened to here, yet in finish and purity of tone she excels them, and last night the Gavotte by Gabr. el Marie was played by request from numerous people in the audience.—Galveston (Tex.) Tribune, December 20, 1898.
43Mlle. Flavie Van den Hende, 'cellist, stranger here, rendered a Tarantelle with a great deal of spirit, while her second number showed her to be a thorough mistress of her difficult instrument.—Boston Herald.
45The 'cellist, Miss Flavie Van den Hende, a young Belgian, displayed talent and technic of a high order; her tone is rich and vibrant and her playing characterized by intense yet refined feeling and expression. In response to a hearty encore she played with fine effect the "Simple Aveu" of Thomé.—Columbus (Ohio) State Journal, April 16, 1899.
47A very attractive young lady was Miss Van den Hende, artistically gowned in silk of a delicate blue shade, with corsage cut to regulation full dress brevity. Her arms were bare, except for a slender strip of fabric over the point of the shoulder, as gloves are impossible with the 'cello. How these flimsy straps maintained their position through the evolutions of the swaying arms while she was coaxing cadenzas and arpeggios out of the obedient instrument, divided the attention of a part of her audience with her music. Miss Van den Hende was very cordially received by the audience. She was duly encored at both of her appearances. All her numbers were given with great accuracy and minute attention to the form of the compositions.—Detroit Tribune, April 29, 1899.
49May Billings Engaged.
51Miss Billings has been engaged as soloist of Trinity Congregational Church, Orange, N. J. This is an excellent choir, and the preference for Miss Billings is especially complimentary in view of the fact that there were a score of applicants. Her voice is of most sympathetic quality and makes friends for her at once.
53She studied with Miss Bissell.
55Tamagno.
57Following Patti's example, Tamagno has built at his villa at Varese a model theatre, with all the latest improvements in scenery, lighting, &c. It was opened by a performance conducted by Campanari, in which Tamagno took part, assisted by Madames De Frate and Tiziario and MM. Beltrami and De Grazia.
59VICTOR HARRIS,
60Vocal Training.
61The Art of Singing in All Its Branches.
62STUDIO: THE ALPINE, 55 West 33d Street, NEW YORK.
63SEASON 1900-1901.
65MADELINE SCHILLER
66CONCERT-DIRECTION GOTTSCHALK,
67LOUDON G. CHARLTON, Manager,
6813 & 15 West 28th St., Revillon Building, or 272 West 86th St., NEW YORK.
69THE ONLY "LESCHETIZKY" SCHOOL OF PIANO PLAYING IN AMERICA.
70Named after PROF. THEO. LESCHETIZKY, of Vienna, by his special permission.
71Mme. DE WIENZKOWSKA, DIRECTRESS AND FOUNDER.
72PROF. LESCHETIZKY'S Sole Principal Assistant in this country, formerly in Vienna; also Concert Pianiste.
73CARNEGIE HALL, Address Communications: 147 W. Eighty-second St., NEW YORK CITY.
74LESCHETIZKY—"Mme. Wienzkowska's success as a piano virtuosa and teacher is eminent."
75PADEREWSKY—"Mme. Wienzkowska is a finished pianiste and possesses an extraordinary ability of communicating to others a complete knowledge of her art."
76HANS RICHTER—"I consider you an artist of finest esprit and taste, and a representative of a most solid school."
77HOFMANN
78BARITONE.
79The distinguished Interpreter of German Lied. Indorsed by Mme. Schumann-Heink.
80CONCERT, ORATORIO, FESTIVALS.
81For Terms apply
82Direction E. H. HOLMES, 33 West 61st Street, NEW YORK.
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