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Musical Courier 1903-02-04: Vol 46 Iss 1193, 1903
54 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
1considered as a sad reflection on the musical culture of our city; more particularly upon the taste of our most prominent musical organizations.
3There seems of late to be manifested throughout the land an unrestrained liking for a light, catchy and popular style of music. It is to be regretted that the standard of taste among many of those of pretensions appears to have greatly degenerated within a few years. I say appears, for really I believe that a higher standard than is indicated by them at present never existed with them, they of whom I speak being of that class who desire commendation of their learning rather than of their judgment in discerning true merit; who desire to know what might be said rather than what should be thought. Encouraged and supported by incompetent critics and a critique based upon a modern distortion of the meaning of the word "success" (which meaning comprehends the attainment or possession of wealth or position rather than of true merit), the mask of hypocrisy has unconsciously been thrown aside and we now see the lamentable spectacle of eager going crowds (among which we see those of whom I speak) jostling each other for the privilege of of paying thousands of dollars to listen to an "intermezzo" of questionable merit, or to ear tickling melodies, accompanied by senseless antics and idiotic grimaces, called "popular opera" and "minstrelsy," in preference to known classical compositions of acknowledged merit rendered artistically by genius. I do not criticise the taste of the masses, nor do I bear any special ill will toward the class of music mentioned; the melodies are often times pretty, sometimes instructive, and serve a purpose; they are a stepping stone to something better. Their combination with the taste of the uneducated is perfectly natural. It should be so; it must be so; it always will be so. But there are those who, possessing some talent and capabilities, are, by reason of their circumstances, environments and opportunities, considered to be vested—and sometimes justly so—with more authority in matters musical than others less fortunate, and who are therefore privileged to speak; whose duty it should be to give, both by precept and practice, a reasonable encouragement and support to the cause of music in its higher sense and as interpreted by masters of the art. It is these I have in mind and aim at, and it is only of them I speak. Is it not a deplorable condition of our musical taste when, on one hand, Pauline Hall, Lillian Russell and others appear in vaudeville, while, on the other hand, Chicago is making up deficits of many thousands of dollars each year to prevent the dissolution of the organization conducted so nobly in the interests of classical music under the able leadership of Theodore Thomas? The situation is certainly far from satisfactory. But to return from our digression and come to the point we wish to make: When a local musical organization, the St. Cecelia Society, organized ostensibly for the purpose of furthering the interests and to advance the cause of music—when this society, which two or three years ago gladly embraced the opportunity of profiting by the performance of this talented artist at a recital given by him (Hamburg) at their hall, many of whose members raved about him, his wonderful technic and what not—when, I say, this same society did not turn out a baker's dozen strong on the occasion of his recent appearance here, there must be "something rotten in Denmark." one of two readings
4There seems of late to be manifested throughout the land an unrestrained liking for a light, catchy and popular style of music. It is to be regretted that the standard of taste among many of those of pretensions appears to have greatly degenerated within a few years. I say appears, for really I believe that a higher standard than is indicated by them at present never existed with them, they of whom I speak being of that class who desire commendation of their learning rather than of their judgment in discerning true merit; who desire to know what might be said rather than what should be thought. Encouraged and supported by incompetent critics and a critique based upon a modern distortion of the meaning of the word "success" (which meaning comprehends the attainment or possession of wealth or position rather than of true merit), the mask of hypocrisy has unconsciously been thrown aside and we now see the lamentable spectacle of eager going crowds (among which we see those of whom I speak) jostling each other for the privilege of of paying thousands of dollars to listen to an "intermezzo" of questionable merit, or to ear tickling melodies, accompanied by senseless antics and idiotic grimaces, called "popular opera" and "minstrelsy," in preference to known classical compositions of acknowledged merit rendered artistically by genius. I do not criticise the taste of the masses, nor do I bear any special ill will toward the class of music mentioned; the melodies are often times pretty, sometimes instructive, and serve a purpose; they are a stepping stone to something better. Their combination with the taste of the uneducated is perfectly natural. It should be so; it must be so; it always will be so. But there are those who, possessing some talent and capabilities, are, by reason of their circumstances, environments and opportunities, considered to be vested—and sometimes justly so—with more authority in matters musical than others less fortunate, and who are therefore privileged to speak; whose duty it should be to give, both by precept and practice, a reasonable encouragement and support to the cause of music in its higher sense and as interpreted by masters of the art. It is these I have in mind and aim at, and it is only of them I speak. Is it not a deplorable condition of our musical taste when, on one hand, Pauline Hall, Lillian Russell and others appear in vaudeville, while, on the other hand, Chicago is making up deficits of many thousands of dollars each year to prevent the dissolution of the organization conducted so nobly in the interests of classical music under the able leadership of Theodore Thomas? The situation is certainly far from satisfactory. But to return from our digression and come to the point we wish to make: When a local musical organization, the St. Cecelia Society, organized ostensibly for the purpose of furthering the interests and to advance the cause of music—when this society, which two or three years ago gladly embraced the opportunity of profiting by the performance of this talented artist at a recital given by him (Hamburg) at their hall, many of whose members raved about him, his wonderful technic and what not—when, I say, this same society did not turn out a baker's dozen strong on the occasion of his recent appearance here, there must be "something rotten in Denmark." OBSERVER. one of two readings
6What do you think about this? FAIR PLAY.
8GRAND RAPIDS, Mich.
10We think that fundamentally the publishers of cheap music are to blame, for this form of "popular" art has quite vitiated public taste and to a certain extent made the exploitation of good music both unprofitable and undesirable. Publishers of "ragtime" songs and marches and meretricious "selections" from horse play comic operas have flooded the country with their tawdry wares. The public hears "ragtime" on every side—at the theatre, in the restaurants, at the hotels, on the streets, in the parlor, and in the ballroom. Interest in real music is at a low ebb. A concert by Hamburg is not a "show." A "Ragtime Reception," given at the "Grand Opera House" (presumably there is one) in your town, with a plentiful sprinkling of legs, cheap songs, shuffles and mock pathos can draw a crowd in blizzard weather. What do we think? What can anyone think? Publishers and entertainment providers do not wish us to think. We can but sit silently in dumb despair and wait for this ill blast of bad music to pass over. To fight "ragtime" seriously is to dignify it with a musical significance which we cannot recognize.
12Tirindelli Resigns.
14As the season at Covent Garden, London, begins in April this year, with the performance of the "Nibelungen Ring," Mr. Tirindelli has been obliged to resign his position as concert master at that theatre on account of his duties at the Cincinnati Conservatory of Music. He will sail for Europe late in June.
16NEW JERSEY'S MUSIC CENTRE.
18EAST ORANGE, N. J., January 30, 1903.
20The most important musical event in the Oranges during the month of January was the production of Hector Berlioz's oratorio, "The Damnation of Faust," by the Mendelssohn Union, at Music Hall, under the direction of Arthur Mees. The soloists were Anita Rio, Theodore van Yorx, Oley Speaks and Ericsson Bushnell. Altogether it was a glorious performance, and with such excellent music placed within convenient reach, Orangeites do not find it necessary to travel to New York unless they feel so disposed.
22Another concert held at Music Hall that came well within the list of artistic performances was the joint recital of Alma Webster Powell and Eugenio di Pirani, the latter a composer-pianist of unusual ability. Still another attractive concert held at the same temple of music was that arranged by Adeline Whittemore Torrey, at which Liza Lehmann's song cycle, "In a Persian Garden," was sung by Miss Marie Stoddart, soprano; Miss Grace Munson, contralto; J. Barnes Wells, tenor, and Lyman Wells Clary, baritone. A miscellaneous program preceded the cycle, which was furnished by Hans Kronold, 'cellist, and Bruno Huhn, accompanist, as well as the aforenamed vocalists.
24The Haydn Orchestra, conducted by Mr. van Praag, gave an evening of enjoyable music at Music Hall, introducing a program in which the classical was judiciously combined with the catchy. Miss Marguerite Lemon, soprano, was the soloist, and Frank E. Drake the accompanist.
26The women's clubs, literary and charitable, as well as the musical ones, have been so remarkably active in the supply of music that it is difficult to enumerate everything and everyone. An occasion wherein music and society blended harmoniously was the reception tendered to Miss Mary McKeen, president of the New Jersey State Federation of Clubs, by the Orange Society of New England Women and the Tuesday Musical Club at the residence of Mrs. William A. Jones, 39 Washington street, East Orange. Upon this occasion the halls and music room were decorated with palms, potted plants and Christmas greens, while the table decorations in the dining room were pink. Many clubs from various parts of New Jersey were represented, and the guests were received by Mrs. Jones, Mrs. Franklin Field, Jr., and Mrs. N. L. Handy. Mrs. L. Lapham, Mrs. Carlin and Mrs. Clark officiated at the table, and Mrs. T. Weldon Jackson, Mrs. Korn, Miss E. Ethelwyn Warren and Miss Edna Crowe dispensed an informal musical program.
28This reception having taken place January 3, a number of strictly musical affairs by the Tuesday Musical Club have followed since, among which was the public concert at Union Hall, at which the following took part: Miss Juliette Girardot, Miss Adela Hyde, Miss Edith Corell, Mrs. George A. Aitken, Jr., pianist; Ruby Gerard Braun, violinist; Mrs. Marcia Eddy Stowe, Miss Leta Dealy, soprano soloists, and a vocal trio composed of Mesdames Field, Mason and Miss Rita Jackson. A Beethoven program was arranged for the club by Mrs. A. Marie Merrick upon the special composers' day, and an unusually fine miscellaneous program was performed this week at the home of Mrs. Bertram Hackenburger, 10 Winans street, at which, in addition to club members, Mr. Mecklem, harpist, and H. Mecklem, 'cellist, father and brother respectively of Mrs. Hackenburger, assisted. Mrs. Hackenburger played the saxophone. In my opinion this was the very best miscellaneous concert ever produced by the club at its private meetings; excellent not alone for the finish of the individual numbers, but for its variety as well. The program consisted of two string quartet numbers, other ensemble numbers combining the instrumental with vocal, also various soli. The joint array of talent consisted of the Misses Braun, Jessen and Todd, violinists; Mrs. Hackenburger, saxaphone and bass viol; Mr. Mecklen, Sr., harpist; Mr. Mecklem, Jr., 'cellist; pianists, Miss Girardot and Mrs. Korn; accompanists, Mrs. Todd and the Misses Corell and Molina; vocalists, Miss Molina and Miss G. Corell.
30The Woman's Club, of Orange, announces a piano recital by Edward A. MacDowell at Association Hall, Newark, February 13. During the past month the following clubs introduced musical artists too numerous to mention, at their different meetings and entertainments, Women's Club, the Fortnightly, Charlotte Emerson Brown Club, State Society Daughters of the Revolution, Hope Lodge, Sunshine Society, &c.; benefits, organ recitals, church and lodge entertainments were given; another, as yet unnamed, new choral society, with high aspirations, was formed; the different German singing societies, led by the Maennerchor, are discussing consolidation; Wm. Harper, basso, sang several times at Carnegie Hall; Miss Minihan gave a song recital at the Waldorf-Astoria, and Miss Florence Stevens, soprano, sailed for Europe last week, where she intends to show, particularly in Paris and London concerts, what an East Orange young woman can accomplish in the field of musical work.
32CLARA A. KORN.
34"The First Christmas."
36In the Church of the Holy Communion, New York, last Thursday evening, the cantata, "The First Christmas," by C. Whitney Coombs, was given its first presentation. There was a choir of sixty mixed voices led by the composer, and Will C. MacFarlane played the organ. The soloists who assisted were Mrs. Jessica de Wolf, soprano; Miss Margaret Keys, contralto; Dr. Franklin D. Lawson, tenor, and Perry Averfill, baritone. Admission was by ticket, and every seat in the edifice was occupied.
38"The First Christmas" is a decidedly meritorious work and discloses Mr. Coombs' musicianship. It also reveals his skill in part writing and ensemble. The cantata opens impressively with a tenor solo and chorus, followed by a recitative and air for tenor and chorus. Then comes a solo for mezzo soprano, with quartet and chorus. An effective recitative for baritone follows, and then there is an inspiring chorus. A mezzo soprano solo with quartet and chorus follows after a very brief intermission. Then there is another tenor solo with quartet and chorus. "Christmas Night," an instrumental interlude, follows. The next part opens with chorus and quartet, the words, by L. M. Wookey, being as follows:
40O'er Bethlehem's plain a radiance is streaming,
41Tingeing night's purple shades with gold,
42The stars are paling in its glory,
43The moon withdraws her lustre cold;
44And silence o'er the earth is brooding,
45The sheep are sleeping in the fold,
46While watchful shepherds, trembling, hear
47The angel's message told.
49There is a beautiful solo for soprano and a chorus, followed by a duet for tenor and baritone. A carol for chorus a cappella comes next, then there is a baritone solo with a chorus. The recitative and air for tenor which follow are very effective, as also is the succeeding soprano solo. The cantata concludes with a full chorus.
51Only words of praise can be given the soloists for their work. They sang with earnestness, intelligence and sympathy, entering intimately into the spirit of the composition, and were strongly supported by the chorus and organist.
53"The First Christmas" beyond question is a work of merit. It is worthy of frequent repetition.
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