Scan 19
Musical Courier 1906-09-05: Vol 53 Iss 1380, 1906
88 lines. Read by computer on 23 September 2026. Printed page 20. See the scan on archive.org.
1PUBLISHED EVERY WEDNESDAY BY THE MUSICAL COURIER COMPANY (Incorporated under the laws of the State of New York) St. James Building Broadway and 26th Street, New York Telephones: 1767 and 1768 Madison Square Cable Address: "Pegujar," New York ESTABLISHED JANUARY, 1880 No. 1380 MARC A. BLUMENBERG – – – – – EDITOR-IN-CHIEF NEW YORK, WEDNESDAY, SEPTEMBER 5, 1906.
3OFFICES AND REPRESENTATIVES.
4LONDON— Montague Chester, Hotel Cecil.
5PARIS— J. F. Delma-Heide, 14 Rue Lincoln (Avenue des Champs Elysées).
6BERLIN— Arthur M. Abell, Luitpold Strasse 24.
7MUNICH— Miss Marigold Etienne, care Alfred Schmid, Theatiner Strasse 34.
8LEIPZIG— Eugene E. Simpson, 27 Nürnberger Strasse.
9DRESDEN— Miss Anna Ingmann, Franklinstrasse 20.
10BRUSSELS— Mrs. E. Potter-Frissell, Münchener Strasse 16.
11PRAGUE— Miss L. Marguerite Moore, 112 Rue Lesbronnarts.
12THE HAGUE— Walter Stafford, Palackysstrasse 51, III Stock.
13CANADIAN DEPARTMENT— Dr. J. de Jong, office of Het Vaderland.
14CHICAGO— Miss May Hamilton, 86 Glen Road, Rosedale, Toronto.
15SAN FRANCISCO— J. W. Treadwell.
16LOS ANGELES— Alfred Metzger, Mason Theatre Building.
17WASHINGTON, D. C., AND BALTIMORE— Miss Fannie Edgar Thomas, care E. F. Droop & Sons, 925 Pennsylvania Avenue, N. W.
18CINCINNATI— J. T. Homan.
19ST. LOUIS— Robert Patterson Strine, Suite 5, The Odeon.
20PHILADELPHIA— Mrs. A. G. Kaesmann, 627 Spruce Street.
21BOSTON— H. I. Bennett, Hotel Nottingham, Copley Square.
22BUFFALO— Miss Virginia Keene, 226 West Utica Street.
23COLUMBUS— Ella May Smith, 60 Jefferson Avenue.
24CLEVELAND— Wilson G. Smith, 719 The Arcade.
25INDIANAPOLIS— Miss Wylma B. Hudson, 919 North Pennsylvania Street.
27THE MUSICAL COURIER is for sale in the UNITED STATES on all news-stands, and in FOREIGN COUNTRIES at the following news-stands and music stores:
29BELGIUM— BRUSSELS: Messrs. De Chenne & Fils, 14 Galerie du Roi.
30ENGLAND— LONDON: F. Batson, 52 Grosvenor Street, Bond Street, W.; May & Williams, 100 Piccadilly, and W. H. Smith & Sons, Railway Bookstalls at Charing Cross, Waterloo Main Station, Waterloo Loop Station, Euston, King's Cross, Paddington and Victoria Stations. LIVERPOOL—Wyman & Son, Lime Street Station. NORWICH—Railway Bookstalls. BRISTOL—Railway Bookstall. LEEDS—Midland Station. NEWCASTLE-ON-TYNE—Central Station. BRIGTON—Railway Bookstalls. SHEFFIELD—Victoria and Midland Stations. BIRMINGHAM—Wyman & Son, London & N. W. Station. MANCHESTER—Central Station.
31FRANCE— PARIS: Shakespeare Library, 75 Champ Elysées; Gallignani, 224 Rue de Rivoli; Brentano's, 37 Rue de l'Opéra, H. Gautier, 11 Rue Gallon; Librairie du Grand Hotel, Boulevard des Capucines, 3 Avenue Victor Hugo, and at all the Kiosks in Paris.
32GERMANY— BERLIN: Bote & Rock, 87 Leipzigerstrasse; Albert Stahl, Potsdamerstrasse 39; Georg Plothow, Kant Strasse 21; Nagel & Dursthoff, Motz Strasse 69. FRANKFORT-ON-MAIN—Railway Bookstall. MUNICH—Karl Schuler, 2 Maximilianstrasse (close to Four Seasons Hotel). Also at Jaffe, Brienerstrasse 54, opposite the Café Luitpold, Afflerbachstrasse 34, Theodor Strasse. Otto Halbweiter, Promenade Platz 10. Richard Sellig, Dicker Strasse 16. LEIPZIG: Ernest B. Raumer, Gottsched Str. 21a, in the Central Theatre Building. Franz Jock, of Peters Steinway; C. A. Klemm, Newmarket. DRESDEN: H. H. Pragerstrasse 12; Pißtner, Seestrasse. COLOGNE—Schnittsch, Buchhandlung, Railway Bookstalls.
33HOLLAND— AMSTERDAM: Willem Stumpff, Jr., Musiekhandel-Spuil 2.
34ITALY— MILAN: Carisch & Janichen, Corso Vittorio Emanuele 2f. Remo Sandron, Via Alessandro Manzoni 7. Baldini, Castoldi & Cia, Galleria Vittorio Emanuele 17 and 80. FLORENCE—Brizzi & Niccolai, Via de Cerretani 12.
35SWITZERLAND— GENEVA: Mr. Henn, 6 Boulevard du Théâtre.
36EGYPT— CAIRO: News-stands.
38SUBSCRIPTIONS:
39Invariably in advance, including postage.
40Single Copies, Ten Cents.
41United States $1.50.
42Great Britain 1.50.
43France 31.25 fr.
44Germany 25 m.
45Austria 1.50.
46Italy 31.25 fr.
47Russia 12 r.
48Entered at the New York Post Office as Second Class Matter.
50SPENCER T. DRIGGS – – – – – BUSINESS MANAGER
52Rates for Advertising on Application.
53All remittances for subscriptions or advertising must be made by check, draft or money order, payable to THE MUSICAL COURIER Company.
54Advertisements for the current week must be handed in by 12 M. Monday.
55All changes in advertisements must reach this office by Friday, 5 P. M., preceding the issue in which changes are to take effect.
56American News Company, New York, General Distributing Agents.
57Western News Company, Chicago, Western Distributing Agents.
59THE MUSICAL COURIER EXTRA.
60Published Every Saturday During the Year.
61GREATEST ADVERTISING MEDIUM FOR MANUFACTURERS AND IMPORTERS OF MUSICAL INSTRUMENTS OR PARTS THEREOF. SPECIALLY DEVOTED TO THE PIANO AND ORGAN INDUSTRY.
62For particulars apply to SATURDAY EXTRA DEPARTMENT.
64OWING to the holiday this week—Labor Day—THE MUSICAL COURIER will be published twenty-four hours later than usual.
66THE box office of the Manhattan Opera House will be opened on September 17 for the subscription sale.
68Ysaye has personally confirmed the news, first published by THE MUSICAL COURIER a month ago, that he will not come to America during the season of 1906-7.
70The betting is even in musical circles on which daily newspaper will be the first to write: "The coming musical season will be the most brilliant in the history of New York." In other years, the Sun, Tribune and Times usually made a close race of it.
72In a magazine article on the "Dynamophone," Dr. Cahill's new invention for transmitting music over great distances, Ray Stannard Baker says: "At present the instrument is better adapted to classical music than to the lively popular airs." Is classical music always slow?
74The Boston Symphony Orchestra will give its annual ten New York concerts in Carnegie Hall on the Thursday evenings and Saturday afternoons of November 8 and 10, December 6 and 8, January 10 and 12, February 21 and 23, and March 21 and 23. Dr. Muck, the new conductor, is to sail from Europe on September 25.
76An English paper speaks of the "monopolistic methods" of THE MUSICAL COURIER. Any method THE MUSICAL COURIER employs must necessarily be monopolistic, for there are no other music papers, either with methods or without. Therefore, it is quite true that THE MUSICAL COURIER monopolizes the circulation, the advertising and the interest of the musical world. We now can quite realize how Rockefeller must feel in the oil business. It is such a lonely sensation.
78"Some people think New York is the entire United States, as far as opera or anything else is concerned, but I know that fully a hundred grand and enlightened cities throughout the West, such as Chicago, St. Louis, Cincinnati, Indianapolis, Denver and San Francisco, are just as competent in appreciation as New York. I want to give grand opera for the sake of grand opera, not for the sake of fashion and high prices."—From an interview with Henry Russell, director of the San Carlo Opera Company, which will tour America this season.
80Is not this Puccini opera business just the least bit dog-in-the-mangerish, and does it not savor of the "Parsifal" tactics all over again? The public will begin to think that the Metropolitan Opera is getting panicky as the time approaches for Mr. Hammerstein to open his new enterprise. And there is good reason for the alarm felt in the opposition ranks over the Manhattan Opera's projected performances of "Bohème." Madame Melba, who is to do the role of Mimi, has been called by Puccini himself "the greatest living exponent of the character." Mr. Hammerstein is not saying much in the present controversy, except that he has the same right as the Metropolitan to produce any or all of Puccini's operas in this city, and that he intends to enforce his right in the most effective manner. The Metropolitan will find Mr. Hammerstein a tougher customer to deal with than a certain defenseless widow who lives 3,000 odd miles from New York.
82In view of what the editor in chief of THE MUSICAL COURIER wrote recently about deadheadism and the giving of gratis concerts, it is interesting to recall the pronouncements of the Bible on the same subject: "Suffer not a man to pass" (Judges iii, 28). "Thou shalt not pass" (Numbers xx, 18). "None shall ever pass" (Isaiah xxxiv, 10). "This generation shall not pass" (Mark iii, 10). "Though they roar, yet they cannot pass" (Jeremiah v, 22). "So he paid the fare and went" (Jonah i, 13). Surely the Bible ought to know, and yet a great philosopher (and theatrical manager) like Shakespeare says in his "Merchant of Venice: "God made him, and therefore let him pass. * * *" Again in "King Lear" the bard makes the appeal: "Oh, let him pass," and in "Hamlet" he implores celestial aid for his unworthy cause thus:
84"Oh, limed soul, that, struggling to be free,
85Art more engaged! Help, angels!"
87Even Wordsworth, the gentle poet of nature, was an enemy to the box office, for he cries out: "We must be free, or die." Wordsworth died.
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