Scan 19
Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
139 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. 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. 1136.
11MARC A. BLUMENBERG – EDITOR-IN-CHIEF.
12NEW YORK, WEDNESDAY, JANUARY 1, 1902.
14LONDON, ENGLAND—
15Hotel Cecil, Mr. Montague Chester, General European Representative.
17BERLIN, GERMANY (Branch Office)–
18Linkstrasse, 17 W., is in charge of Mr. Otto Floersheim.
19Single copies for sale at the music store of Ed. Bots & G. Beck, Leipzigerstrasse 38, W.
21DRESDEN—
22Anna Ingman, Franklinstrasse 20.
24LEIPZIG—
25Gustave Adolphusstrasse 19a. Mr. Alvin Kranich in charge.
27PARIS, FRANCE—
28Conducted from London Office.
29Single copies for sale at Brentane's, 37 Avenue de l'Opera; 37 Rue Marbeuf; Galigani Library, 224 Rue de Rivoli; Shakespeare Library, 75 Avenue des Champs Elysees, Boulevard Kiosks.
31VIENNA—
32Genevieve S. Lincoln.
34ITALY—
35Florence—5 Via Rondinelli, Joseph Smith in charge.
36Milan—F. Oriandi, 7 Via San Zeno.
38CHICAGO OFFICE—
39Fine Arts Building, Michigan Boulevard, C. A. Danieli in charge.
41CANADIAN OFFICE—
42In charge of Miss May Hamilton. Address Main Office, New York City.
44SAN FRANCISCO OFFICE—
45Room 727 Emma Spreckels Building, Mrs. A. Wedmore Jones in charge.
47LOS ANGELES—
48F. W. Blanchard, Blanchard Hall.
50ST. LOUIS—
51Lillian Apel-Emery, correspondent.
53MILWAUKEE—
54Controlled by Chicago Office.
56INDIANAPOLIS—
57Controlled by Chicago Office.
59CINCINNATI OFFICE—
60J. A. Homan in charge.
62BOSTON OFFICE—
6317 Beacon Street.
65BROOKLYN OFFICE—
66Hotel St. George, Clark, corner Henry Street.
68BUFFALO OFFICE—
69Mrs. Nellie M. Gould, 428 Ashland Avenue.
71WASHINGTON OFFICE—
72128 Maryland Avenue, S. W., Berenice Thompson in charge.
74SUBSCRIPTIONS:
75Invariably in advance, including postage.
76Single copies, Ten Cents.
77United States, $5.00
78Great Britain, £1 5s.
79France, 15 fr.
80Germany, 25 m.
81Austria, 15 f.
82Italy, 32.10 fr.
83Russia, 12 r.
85SPENCER T. DRIGGS – BUSINESS MANAGER
87Rates for Advertising.
88PER INCH ON ADVERTISING PAGES.
89Three Months………….$28.00 Nine months………….$75.00
90Six Months……………..50.00 Twelve Months………..100.00
92ON READING PAGES.
93One inch, 3 months………….$75.00
94One inch, 6 months………….125.00
95One inch, 1 year……………..200.00
96Special rates for preferred positions.
97One page, one insertion……..$300.00
98One-half page, one insertion….175.00
99One Column…………………100.00
100All remittances for subscriptions or advertising must be made by check, draft or money order, payable to THE MUSICAL COURIER COMPANY. one of two readings
101All remittances for subscriptions or advertising must be made by check, draft or money order, payable to THE MUSICAL COURIER Company. one of two readings
102Advertisements for the current week must be handed in by 3 P. M. on Monday.
103All changes in advertisements must reach this office by Friday 5 P. M. preceding the issue in which changes are to take effect.
105American News Company, New York, General Distributing Agents.
106Western News Company, Chicago, Western Distributing Agents.
108THE MUSICAL COURIER EXTRA.
109Published Every Saturday During the Year.
110GREATEST ADVERTISING MEDIUM FOR ALL
111MUSIC PUBLISHERS AND MANUFACTURERS
112AND IMPORTERS OF MUSICAL INSTRUMENTS
113OR PARTS THEREOF. ALSO SPECIALLY DEVOTED TO POPULAR MUSIC.
114For Particulars apply to "Saturday Extra Department."
116WELCOME, 1902! And a Happy New Year to all readers of THE MUSICAL COURIER!
118THE ladies are bitterly complaining of the inky programs at the Metropolitan Opera House. Judging from last week's repertory, a change of program is needed all round.
120ONE of the many witty things to be found in the last volume of "Liszt's Letters to Princess Carolyne Sayn-Wittgenstein"—just published by Breitkopf & Härtel, and to be reviewed later—is the bon mot of Count Jules Andrassy: "I understand nothing of music, but I understand Liszt." The aged virtuoso quotes this in a letter dated from Budapest, March, 1883. Its only parallel may be found in George Moore's "Confessions of a Young Man," who speaks of the mythical composer Cabaner—is he a myth?—and his music: "Music that might be considered by Wagner as a little too advanced, but which Liszt would not fail to understand." And do we really understand the best of Liszt's music?
122THE variety of criticism uttered and published on the violin virtuoso Kubelik has evidently not affected the demand of the public to hear him. This is the result of the judicious and professional and artistic management of Mr. Daniel Frohman, and it illustrates the intrinsic value of skilled managerial influence, judgment—in short, directorial genius. It is also a great lesson for those who believe that the field of music offers no opportunity for managerial distinction. It is also an indication that a successor to Mr. Maurice Grau is in sight, for if Mr. Grau should decide to retire from the management of the opera, Mr. Daniel Frohman, a judge and a student of music at the same time, would be an ideal successor. He proves this in the Kubelik management.
124INVOKE LAW OVER ORGANIST.
125PITTSBURG LABOR LEADERS OBJECT TO SELECTION OF AN ENGLISHMAN FOR CITY POSITION.
126PITTSBURG, Pa., Tuesday.—Announcement of the selection of Edwin Lemare, of London, as city organist to succeed the late Frederic Archer, at a salary of $4,000 a year, has caused labor leaders to raise the question of violation of the contract labor laws. Mr. Lemare is at present the organist of St. Margaret's Church, London, and there is considerable ill feeling over the failure of the institute trustees to select an American organist.
127In addition to the contract labor law point, which the trustees say will not stand, labor leaders say that, as he is an alien, Mr. Lemare is not eligible to hold a city position, the salary being paid by the city.
129IF this question ever reaches the dignity of judicial consideration it may open up the relation of visiting musical artists who periodically come to the United States under contract. Many of them come under extended contracts covering years of engagement.
130As to the selection of an American organist, it is always understood that the most lucrative positions are offered to foreign artists. We draft our resources in art from foreign lands, and this may be the proper thing, but it unquestionably affects seriously our native development. If our naval architects, our painters, our municipal architects, our engineers, our mineralogists and geologists, our statesmen, our locomotive builders and our piano makers were drafted from Europe, it might materially advance the benighted condition of our ignorant and stupid population.
132MR. FINCK printed the following story in the Evening Post last Saturday:
133"In a recent number of the Paris Gaulois Robert Mitchell relates his experiences with Liszt at Rome in 1863. He was often invited to dine with the Princess Wittgenstein, who had gone to Rome in pursuance of her efforts to get permission to marry Liszt. The Princess, he writes, was not good looking, but she had a very expressive face, was very animated and somewhat free and easy in her ways. She made no effort to conceal her strong affection for Liszt and called him cher in the tenderest tones. Liszt allowed himself to be adored, with the condescending air of a man who knows he need not do anything more to keep alive the feeling he has inspired. After dinner the Princess always smoked a large Havana cigar, but would not allow others to smoke in her presence! Liszt often sat down at the piano and improvised by the hour. At such times he was quite unlike the Liszt of the concert halls: 'What he played was indefinable, and I believe it would have been difficult to put it down in musical notation. It was indefinite and marvelously euphonious. It seemed to reach the brain through the nerves, not the ear; the music was absorbed rather than heard. Liszt, transfigured, with his eyes rolling in ecstasy, appeared to be deciphering the prelude to a supernatural life. And the good Princess, enchanted, oblivious of all rules of decorum, wept, sobbed and exclaimed: "Cher, cher, que tu es beau!"'"
135IN the Katzenstrasse of the good Dutch town of Audenaerde there stood one of the quaint old houses, with gables to the street, which people call picturesque. It was adorned with a series of bas-reliefs, one of which represented the last scene of the fire famine, the subject which Richard Strauss has chosen for his latest work. An old Holland story book tells the tale somewhat as follows:
136"In the days when wizards and witches had the power to torment good Christians there lived in Audenaerde a young man and a pretty girl. He loved her fondly, sighed for her day and night and followed her about everywhere. But she did not respond. The more he sighed the more she laughed, the more he courted the more she scorned him. At last she seemed to relent and promised to let him into the house on the following night. He must be prompt at her house, at 12 p. m. punctually, with a large basket, in which she would draw him up to her window. Sharp at midnight the basket and the youth were there, a rope descended from the top story of the house, he made it fast to the basket, stepped in and away he went heavenward.
137"Half way up the basket stopped and began to whirl about. Round and round, round and round it spun, till the young man's brain reeled. He whispered the name of his beloved, and round he spun; he coughed and coughed, but the whirl continued till he was dizzy. At last day broke. Workmen going to their work stopped and laughed. The crowd increased, so did the roar of laughter and the jeers, till at length, in broad day, down he came. The jokes and jests of the people hurt his fine feelings. Love changed to hate. He fled from the city and never ceased running till he came to the forest of Audenaerde. There an old man stopped him and asked him why he was running and what was the matter. The youth told everything. The old man was deeply moved. 'Be consoled,' he said, 'we will see if we cannot avenge you for such insults. Ten generations and more shall talk about it.'
138"Now the old man was one of the greatest wizards in all Audenaerde, with several thousand devils at his beck and call. At his command they put out all the fires in the town. No hearth had a fire, no lamp would burn. Terror seized all the citizens, and they met in the market place to take counsel as to what was to be done. Among them appeared the old wizard in the figure of a respectable citizen. 'I know a method of procuring fire,' he said, 'but it is a hard one; you must give me your serv-
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