Scan 19
Musical Courier 1902-03-05: Vol 44 Iss 1145, 1902
135 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. 1145.
11MARC A. BLUMENBERG – EDITOR-IN-CHIEF.
12NEW YORK, WEDNESDAY, MARCH 5, 1902.
14LONDON, ENGLAND—
15Hotel Cecil, Mr. Montague Chester, General European Representative.
17BERLIN, GERMANY (Branch Office)—
18Linkstrasse, 17 W., is in charge of Mr. Otto Fioserheim.
19Single copies for sale at the music store of Ed. Bote & G. Book, Leipzigerstrasse 30, W.
21DRESDEN—
22Anna Ingman, Franklinstrasse 20.
24LEIPZIG—
25Gustave Adolphustrasse 19a. Mr. Alvin Kranich in charge.
27PARIS, FRANCE—
28Conducted from London Office.
29Single copies for sale at Brentane's, 37 Avenue de l'Opera; 87 Rue Marbeuf; Galilani Library, 224 Rue de Rivoli; Shakespeare Library, 75 Avenue des Champs Elysées, Boulevard Kloskis.
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. Daniell in charge.
41CANADIAN OFFICE—
42In charge of Miss May Hamilton. Address Main Office, New York City.
44SAN FRANCISCO OFFICE—
45The Raleigh, 319 Sutter Street. 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 8s. Austria, 15 f.
79France, 31.85 fr. Italy, 28.10 fr
80Germany, 25 m. Russia, 18 r.
82SPENCER T. DRIGGS – BUSINESS MANAGER
84Rates for Advertising.
85PER INCH ON ADVERTISING PAGES.
86Three Months…………. $88.00 Nine months…………. $75.00
87Six Months…………. 50.00 Twelve Months…………. 100.00
89ON READING PAGES.
90One inch, 8 months…………. $75.00
91One inch, 6 months…………. 185.00
92One inch, 1 year…………. 200.00
93Special rates for preferred positions.
94One page, one insertion…………. $300.00
95One-half page, one insertion…………. 175.00
96One Column…………. 100.00
97All remittances for subscriptions or advertising must be made by check, draft or money order, payable to THE MUSICAL COURIER Company.
98Advertisements for the current week must be handed in by 2 P. M. on Monday.
99All changes in advertisements must reach this office by Friday 5 P. M. preceding the issue in which changes are to take effect.
100American News Company, New York, General Distributing Agents.
101Western News Company, Chicago, Western Distributing Agents.
103THE MUSICAL COURIER EXTRA.
104Published Every Saturday During the Year.
105GREATEST ADVERTISING MEDIUM FOR ALL MUSIC PUBLISHERS AND MANUFACTURERS and IMPORTERS OF MUSICAL INSTRUMENTS OR PARTS THEREOF. ALSO SPECIALLY DEVOTED TO POPULAR MUSIC.
106For Particulars apply to "Saturday Extra Department."
108REGINALD DE KOVEN is trying to start a symphony orchestra in Washington. We think his efforts praiseworthy. But who is to conduct it after it is organized?
110D ESPITE the adverse criticisms of Eduard Hanslick and other old fogey critics, Richard Strauss' one-act opera, "Famine of Fire," met with great popular success in Vienna.
112N O more "standees" at the back of the Opera House. The fiat has gone forth, and the management has yielded. Chairs fill the space, and next season regular stalls will be built in. It's a wise fire department that knows its own mind; though the exits will not be as easy of access as they were during the old system.
114T HE fire that broke out in the wig room of the Metropolitan Opera House the night of the gala performance was caused by Fritzi Scheff's Papagena wig coming in contact with Wotan's whiskers. We notice in the prospectus of the forthcoming Munich festival that Fritzi Chef is registered as if coming from London! This is news for the British capital.
116H IS Majesty Emperor William continues in every way to show his enthusiastic regard for the United States and the Americans. Last week the Emperor and the Empress celebrated the twenty-first anniversary of their marriage, and the program at the palace on that memorable occasion included the singing of American songs by Arthur van Eweyk, a baritone from Milwaukee. In the festivities in honor of Prince Henry in this country the royal visitor loses no opportunity to express his admiration for American music, such as the plantation melodies, patriotic airs and Sousa marches.
118T HE Journal, apropos of the Staats-Zeitung dinner to the Prussian Prince, asks, "Which are the ten greatest names in the history of Germany?" And then suggests: Charlemagne—a German—Frederick the Great, Bismarck, Goethe, Schiller, Kant, Humboldt, Virchow, Heine, Helmholtz. But where is Beethoven, where is Mozart—for his stock was Germanic—where are Bach, Händel, Wagner, Schopenhauer, Johannes Müller—whose discoveries in physiology are far more valuable to mankind than Humboldt's encyclopaedic knowledge! At least Beethoven ranks in a list that includes Schiller.
120P ADEREWSKI, who is still the musical topic of the hour, was interviewed in the Journal and Press last Sunday. His theme in the former is always a dangerous one—the American girl. The pianist proved by his remarks that he has not been spoiled with girlish flattery, for he calmly proceeded to outline the faults and failings of the female Young Person. Henry T. Finck must feel delighted when he reads this, for Paderewski admires the Womanly Woman:
122"For instance, the way she often dresses herself. She does wear sometimes the most outlandish things—outlandish, but there—that's enough about that—she is—
124"Well, perhaps it would not be gallant to go into minute particulars, but short skirts, stiff cravats, men's coats, men's hats, men's shoes, men's shirts—ugh! she should never wear such things, it is not womanly, it is not delicate, it is not becoming! The new woman, as you call her, is not sympathetic. She is unwinsome, unlovable. How could an artist make love to a woman in one of those hee-deous automobile coats you see everywhere here in New York, for instance? It is not possible." The eyebrows and hands went up again.
126"She is not the sweet woman we like, then. We want the woman to be gentle and wear things that are peculiarly and particularly hers. We want her to be feminine in thought and manner—the sweet, gentle woman—that is the woman—but, alas! you don't always find her to-day."
128English girls, says Paderewski, are truer, more domestic than our girls. In the Press he spoke of genius and suffering, and said this of Kubelik—no doubt to the delectation of the violinist's managers:
130"Kubelik is very wonderful—with his fingers. His genius is all in his fingers now. He puts nothing of himself into his violin, for as yet his temperament is not formed. His mind, his soul, his feeling, as yet play no part."
132W E commend Marcella Sembrich for refusing to sing after Prince Henry left the Opera House last week. The clause in her contract was specific—her act from "La Traviata" was not to begin later than 11:45 p. m. At 12:17 a. m. the curtain dropped on the "Tannhäuser" act, and the Prince left with his retinue. Even then the soprano might have sung, but when she was told that about 200 persons had remained in the audience, she properly enough rebelled, and the act was called off. Mr. Grau was not sorry, naturally enough, and the only "kickers" were those who ran out so rudely to see the Prince and his suite leave the building. Under these circumstances Madame Sembrich should be praised for her action. Mr. Grau is the gainer and Prince Henry the loser. He would have heard a genuinely great singer if he had remained twenty minutes longer.
134I N some lately published letters of Verdi to Somma, the librettist of "Il Ballo in Maschere," repeated mention is made of the composer's projected opera "King Lear," for which Somma wrote a libretto. "I prefer Shakespeare to all the dramatists, without excepting the Greek." The tragic poetry of "King Lear" was the constant dream of his artistic life, but it is not known whether the composer wrote anything on the subject. Somma undoubtedly was not the man for a libretto on a Shakespearian subject, as Verdi knew, for the master traced out for Somma the action of the piece, which, after a hundred corrections and alterations, made at his suggestion, was completed in 1855. After that date he spoke no more of "King Lear." In Verdi's latter day the figure of the old king, invoking curses on his daughter, amid the fury of the tempest, and, as in a vague penumbra, the angelic image of Cordelia passed before his mental eye. And in his old age he returned with renewed love to his favorite argument, which he would have interpreted with all the ardent and potent fancy of youth. He certainly spoke to Arrigo Boito about "King Lear," which would have been the sublime song of his soul.
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