Scan 25
Musical Courier 1901-11-27: Vol 43 Iss 1131, 1901
46 lines. Read by computer on 22 September 2026. Printed page 26. See the scan on archive.org.
1THE BERTHOLDT,
2128 MARYLAND AVENUE, S. W.,
3WASHINGTON, November 22, 1901.
5Golden Rule a Means of Advertisement.
7THE day when trickery and meanness were helpful in developing one's business has passed away and the time has come when business men may apply the rules of Christianity and find them helpful. When a man achieved a certain amount of success by dishonorable means he found that failure followed. The success was short lived, because the public soon discovered his trickery and ceased its patronage. Then he learned that if he desired to achieve a lasting success he must deal fairly, honestly and righteously. And these alone were not enough. To be successful it was necessary to train himself to be patient under trials, to be accommodating, to be generous hearted and all the things that are required in moral precepts. In other words, the business man discovered that his early Sunday school training was the very sort of training which was useful in his business.
9Now, while it is true that the business man made these discoveries some time ago, the musician—at least the Washington musician—has not yet reached this stage of progress. He—that is most of him—is still hobbling along in an antiquated rut, because he has not learned what a splendid idea the Golden Rule is from a business standpoint. "Do unto others as you would that they should do unto you." How many composers are there in Washington who perform the compositions of another Washington composer? How many teachers admit that there is any merit whatever in any other teacher of the same branch? How many concert-givers become concert-goers when their brother musicians are in charge of the stage?
11But the composer argues: "I can't play the compositions of my contemporary. They are bad. In fact, awful." Rubinstein said worse of Brahms, but Rubinstein was wrong, you see. He just had a little of that blind narrowness which so often shows itself in man—especially man in politics. The partisan who is unable to see the other side of the question is merely narrow minded.
13It has been shown that a common fault in man is partiality to his own work. If he makes a few mistakes, he will overlook them, but he will not overlook those same mistakes when made by another. Now as he is always overrating himself, he should learn in a few years to make a mathematical discount on all of his own productions, which should equal the mental aberration caused by conceit. After he has marked one of his own compositions at 100 per cent., or perfect, and someone else's at 50 per cent., or poor, and has afterward noticed that others received the two compositions with equal favor, he should acknowledge that his mental wheels were not in order and should try to mend them by the aforesaid mathematical rule. If he were a sensible man he would then say to himself whenever he listened to the compositions of other living composers: "I'm 50 per cent. out of the way, eh? Then this disgusting rubbish which I am listening to must be as good as my own."
15Or if he were a singing teacher he would say: "The pupils of my neighbor here sing like frogs. But then I am a little narrow minded and have not looked for any good points in his teaching. Probably he thinks my pupils sing like goats."
17You see how nice and happy it would all come out if the Washington musicians would lay aside their little quarrels and disagreements and devote themselves to helping each other.
19The 'cellist would begin to play the pianist's compositions, and the pianist would return the compliment. Every Washington composer of merit would have his pieces played ten times instead of one. Then the teachers would form combinations to help each other. A number of piano teachers could combine, and each agree to teach a certain branch of piano playing. One man for technic, one for interpretation, one for sight playing, &c., each one taking the part best suited to his talents. Then they would all recommend each other instead of cutting each other's throats. The concert musicians would form a combination to quash these measly clubs here that are always begging their services gratis, and each one would try to help everyone else.
21Amy Law gave a pleasing recital at her studio last Tuesday. She was assisted by Florence Stevens, violin, and Florence Wieser, 'cello. Mrs. Frank Byram and Miss Moxon were at the piano. Miss Law's selections were well received, especially a group of light songs, one of which was Allitsen's "Love Is a Bubble," in which the writer of the words informs us that man is a "dead leaf." One of the best characteristics of Miss Law's voice is its flexibility, and the ease with which the high notes are taken. "Don Juan's Serenade," by Tschaikowsky, was one of the most attractive numbers on the program, and the accompaniment was beautifully played by Miss Moxon. There were trios for piano, violin and 'cello, which were well done, with the exception of the "Anitra's Dance" arrangement, in which the players did not always keep together. There were also solos by Miss Stevens and Miss Wieser, all very creditably rendered. Mrs. Byram played a Chopin Waltz, which gave an opportunity for the display of admirable delicacy of touch in the soft passages. The tone of the instrument was forced in the louder parts, however, and the performance could have been improved upon had they been played with a little less vigor.
23All who missed the Lent concert at the New Willard Hotel last Wednesday will be obliged to wait some time before they will again have the opportunity of listening to a baritone singer equal to Heinrich Meyn, the assisting artist. Mr. Meyn is undoubtedly a great singer. If you do not believe it observe the perfect equality of his rounded tones, high and low alike, the fine control of breath power, which enables him to start a long sustained tone softly, and then gradually swell it to a louder and then softer sound, without apparent exertion; and notice also the rapid changes of loud to soft and fast to slow tone, giving life and vitality to his interpretations. Then last of all glance at the program and notice his selections—not many novelties to be sure, but all good numbers that are enjoyable. Some there are by Schumann, Schubert and Spicker. After all though it is more in the manner of singing than in the songs themselves.
25Ernest Lent, who plays the 'cello, made his instrument sing, too. His tones have the same spellbinding effect as Mr. Meyn's baritone voice. They swell and diminish and throb with intensity. Mr. Lent's principal piece was Georges Goltermann's Concerto in B minor, with Mrs. Lent at the piano. The first theme in a minor key is succeeded by a beautiful singing melody. One attractive passage consists of successive secondary seventh chords, and the concerto ends with a bright major movement. Then, too, it contains many difficult passages, with octaves and sixths. A concerto must always be "hard" to play in order to be successful, and Mr. Lent was equal to the difficulties.
27Mrs. Lent's numbers were of the light florid order, which gave an opportunity for that delicacy and daintiness of touch in which she excels. She can play heavy chords with good effect, but her pieces did not give her a chance to display this side of her art. The little pieces by Grieg were charming. She also played two of Mr. Lent's compositions, "Lampyre" and "Sobieski." Of the two, the last named, which is published by John Ellis & Co., was the most pleasing. It is warlike in character and is probably named after the famous Polish family. It is distinctly orchestral in conception and needs the roll of the drum and the full orchestra for the first theme, and an oboe solo in some parts of the contrasting second theme, to bring out the full effect of the composition. Where there are two distinct voices, two instruments of different tone color would enhance its value. Henry Xander played the accompaniments in his best style.
29Miss Amy Leavitt has some excellent ideas in the line of musical talks.
31Henry Meyer, a zither player, from Philadelphia, will be heard at one of the De Koven musicales.
33Miss Mary A. Cryder, whose concerts were so successful last year, is arranging another course for this season.
35Berenice Thompson.
37Dannreuther Quartet.
39THIS standard organization is busy with various engagements, having already played at Norwich, Conn.; at Tuxedo Park (for Mrs. Poor); at "Robin's Nest," Tarrytown; Utica; Smith College, Northampton, Mass.; Springfield, Mass.; at Washington and Litchfield, Conn. They have begun their nineteenth season of Sunday afternoon chamber musicales at Dr. Knight's, and next month they play in New York, Farmington, Conn.; Pater son, Brooklyn and elsewhere.
41The Springfield Republican speaks in most enthusiastic terms of the two concerts given there, and devotes a half column of praise to the work of the quartet.
43Thanksgiving Music at Roseville Church.
45AT Roseville Avenue Presbyterian Church last Sabbath evening there was special Thanksgiving music, rendered by the quartet of the Fifth Avenue Presbyterian Church, of New York, consisting of Mrs. M. H. De Moss, soprano; Mrs. Elizabeth Leonard, contralto; Edward Strong, tenor, and Robert Hosea, bass. Solos and quartets were sung as follows: Alto solo and quartet, "The Lord Is My Shepherd," Koschat; baritone solo and quartet, "Thou Visitest the Earth," Dr. Greene; tenor solo, "A Song of Thanksgiving," Allitsen; soprano and alto duet, "O Lovely Peace, With Plenty Crowned," Händel; soprano solo, "Give," Cowen. The organist-director, F. W. Riesberg, played the following organ pieces: Prelude, "Harvest Home." Spinney; postlude, "Festal March," Smith.
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