Scan 19
Musical Courier 1903-08-26: Vol 47 Iss 1222, 1903
57 lines. Read by computer on 21 September 2026. Printed page 20. See the scan on archive.org.
1lay down, rolled on its back, kicked its heels in the air and gave vent to long drawn out sounds of agony that seemed very like the howl of a coyote." This might be a faithful picture of John F. Runciman listening to a composition by Richard Strauss. But Runciman gives out the sounds of agony with his pen.
3An unsuccessful composer takes this humorous view of his fate: "Formerly I used to think my works good, but the publishers wouldn't believe me; now I think my works bad, and the publishers do believe me."
5G. F. T. sends the information: "Not long ago, in suggesting that Raphael Joseffy edit a Schumann edition, you evidently overlooked the fact that the works of this master have been most satisfactorily revised by both Klindworth and X. Scharwenka." Thanks, but the fact was not overlooked, even if it escaped mention. Karl Klindworth made some admirable versions of Chopin and Xaver Scharwenka wrote a spirited piano concerto, but their Schumann editions are not formidable contributions to the literature of the piano. Joseffy is the logical man for this work, and it is from him that the musical world would like to hear. Pianists insist on regarding his edition of the "Toccata" as a foretaste of further Schumann arrangements soon to come. That is the least penalty which Joseffy ought to pay for not letting us hear him in recital.
7Sousa, after sailing in Europe on the seas of popular approval, has now cast anchor in the less turbulent waters of Larchmont-on-the-Sound. The monarch of the march, who is very fond of swimming, says that at present he is enjoying quietly his favorite kind of "Sound waves." Asked about his plans for new marches and operas, Mr. Sousa ducked and did a very pretty overhand stroke.
9Was it not Sousa who said: "When a musician has gone through all the old masters and then comes to write something himself, it becomes a matter solely of memory and of conscience"?
11The New York Gernal, too, discussed the effect of piano playing on the nerves of children. The article in the Gernal was headed "Piano Pounding Paralyzes Puny Pupils."
13Giordano sends his latest picture, taken in the bosom of his family on the terrace of the Giordano home, Villa Montebello, Milan. It is a far cry from Umberto Giordano's "Mala Vita," a three act musical "melodrama" (produced with success at Rome in 1892), to the same composer's "Fedora," about the first German production of which you read a glowing account in our Berlin letter last week. Giordano regarded his earlier operas more or less in the light of experiments. He foretold the failure of "Regina Diaz," produced at Naples in 1894. "André Chenier" (première at La Scala, Milan, in 1896) was Giordano's first really ripe work, and it made a deep impression in Europe and in America. We have had no very satisfactory production of "André Chenier" in New York, but in San Francisco they give the opera with an excellent cast, and it has attained to some popularity there at the Tivoli. Would that Mr. Conried might see his way clear to giving us fitting representations this winter of "Fedora" and "André Chenier."
15In a Parisian periodical there is an article headed "The Intelligence of the Musician." The article is very short.
17Algernon Ashton is still in a flurry about his discovery "that the first five notes of the opening theme of Schumann's famous Quintet, op. 44, in E flat, are identical with the beginning of a Trio in E flat by Anton Filtz, a forgotten German composer of the eighteenth century." Mr. Ashton complains in an open letter to the editor of a London journal that The Musical Courier refused to print the news of the discovery. This is a dire omission, of course. However, in the opinion of the editors of this paper, to the musical world it seemed less important to know that Schumann's first five notes are like those in Filtz's Trio than to be convinced that the rest of Filtz's 9,995 notes are utterly unlike any of those in Schumann's Quintet—a piece of information which is herewith vouchsafed—and guaranteed—to the musical reader.
19Dr. S. Festorazzi calls himself a "valiant admirer" of "Variations," and adds: "I was surprised to find that in your list of works for the violin you omitted the Concertos of Raff, op. 161 and op. 206, and the melodious Concerto, op. 49, E minor, of Niska Hauser. The concerto by Klughardt, which also you did not mention, should be studied by every violinist."
21At the Stern Conservatory in Berlin there were 836 students last year and fifty-five of them were Americans. This is about 15 per cent. The year book (1902-3) of the Würzburg Conservatory shows a total attendance of 921 pupils, with four from the United States. The Heidelberg Conservatory sends a catalogue that chronicles 115 students for last year, with no Americans.
23John Newman Carlyle has just published a novel called "Sour Music." What kind is that?
25Henry Wood, the London conductor, is an indefatigable searcher after novelties for Queen's Hall promenade concerts. He announces for early production three new piano concertos not heard before in London. They are by René Lenormand, Josef Holbrooke and Harry Farjeon.
27It was of Leopold de Meyer that the caustic Hans von Bülow once said: "He plays the easiest pieces with the utmost difficulty."
29LOUDON G. CHARLTON CONCERT CO.
31MISS MAUDE REESE-DAVIES, Soprano.
32MISS IDA SIMMONS, Pianist.
33MLLE. FLAVIE VAN DEN HENDE, Violoncellist.
35Transcontinental Tour, November, 1903-May, 1904, Now Booking.
37LOUDON G. CHARLTON, Carnegie Hall, New York.
39MR. KELLEY COLE TENOR.
40In America Nov., 1903–May, 1904.
41Sole Direction: LOUDON G. CHARLTON,
42Carnegie Hall, New York.
44Mrs. Willard S. Bracken,
45CONTRALTO.
46Mgt. DUNSTAN COLLINS,
4755 Auditorium Bldg., – – CHICAGO.
49MARION GREEN,
50Basso Cantante.
51Management: DUNSTAN COLLINS, 55 Auditorium Bldg
53The Great Violinist.
54Management
55DUNSTAN COLLINS,
5655 Auditorium Building, CHICAGO.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.