Books › Musical Courier 1907-10-02: Vol 55 Iss 14, 1907 › scan 19
Scan 19
Musical Courier 1907-10-02: Vol 55 Iss 14, 1907
125 lines. Read by computer on 23 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
3PUBLISHED EVERY WEDNESDAY BY THE MUSICAL COURIER COMPANY (Incorporated under the laws of the State of New York) MARC A. BLUMENBERG, Pres. SPENCER T. DRIGGS, Sec. and Treas. ST. JAMES BUILDING Broadway and 26th St., N. Y. Tele.: 1767 and 1768 Madison Square Cable Address: "Poggjar," New York one of two readings
4PUBLISHED EVERY WEDNESDAY BY THE MUSICAL COURIER COMPANY (Incorporated under the laws of the State of New York) MARC A. BLUMENBERG, Pres. SPENCER T. DRIGGS, Sec. and Treas. ST. JAMES BUILDING Broadway and 26th St., N. Y. Tel.: 1767 and 1768 Madison Square Cable Address: "Poggjar," New York one of two readings
6ESTABLISHED JANUARY, 1880 No. 1436
8MARC A. BLUMENBERG – – – EDITOR-IN-CHIEF
10NEW YORK, WEDNESDAY, OCTOBER 2, 1907
12OFFICES AND REPRESENTATIVES
14LONDON—
15Mrs. A. T. King, 35 Weymouth St., W.
17PARIS—
18J. F. Delma-v. d. Heide, 14 Rue Lincoln (Avenue des Champs Elysées).
19Cable and telegraph address: "Delmacheide, Paris."
21BERLIN—
22Arthur M. Abell, Luitpold Strasse 24.
24LEIPZIG—
25Eugene E. Simpson, 27 Nürnbergner Strasse.
27DRESDEN—
28F. Potter Frissell, Nürnbergnerstr. 54.
30VIENNA—
31M. Marvin Grodzinski, Lazarethgasse 18.
33MILAN—
34Mrs. Emma Romeldi-Pattison, 3 Via del Carmine.
36THE HAGUE—
37Dr. J. de Jong, office of Het Vaderland.
39PRAGUE—
40Miss Theresa MacAvoy, care of Miss Mills, Brandigasse 32, Welberge.
42CANADIAN DEPARTMENT—
43Miss May Hamilton, 86 Glen Road, Rosedale, Toronto.
45CHICAGO—
46Mrs. A. G. Kaesmann, 525 Orchestra Building.
48BOSTON—
49Miss Wylma Blanche Hudson, Hotel Nottingham.
51SAN FRANCISCO AND THE PACIFIC COAST—
52Alfred Metzger, Sherman, Clay & Co., 1635 Van Ness Ave., San Francisco.
54WASHINGTON, D. C., AND BALTIMORE—
55Bertha Thompson, Room 40, Washington Post Bldg., Pennsylvania Ave., Washington, D. C.
57CINCINNATI—
58J. A. Homan, John Church Building, Fourth and Elm Streets.
60ST. LOUIS—
61Robert Patterson Strine, Suite 5, The Odeon.
63PHILADELPHIA—
64Helen W. Henderson, Pennsylvania Academy of Fine Arts, Philadelphia.
66BUFFALO—
67Virginia Keene, Hotel Cheltenham, Franklin Street.
69COLUMBUS—
70Ella May Smith, 60 Jefferson Avenue.
72CLEVELAND—
73Wilson G. Smith, 719 The Arcade.
75SYRACUSE—
76Fredrick V. Bruno, 210 Noxon Street.
78THE MUSICAL COURIER is for sale on the principal newsstands in the United States and in the leading music houses, hotels and kiosques in Belgium, England, France, Germany, Holland, Italy, Switzerland and Egypt.
80NOTICE TO ADVERTISERS—Reprints of press notices from other papers will hereafter be accepted for publication in THE MUSICAL COURIER only at the regular advertising rate per inch. All such notices must be accompanied by the originals from which they are quoted. Managerial announcements about artists will be accepted only when they are news and must be sent subject to editorial revision.
82SUBSCRIPTIONS:
83Invariably in advance, including postage.
84Single Copies, Ten Cents.
85United States, $5.00
86Canada, $6.00
87Great Britain, 15s.
88France, 31.25 Fr.
89Germany, 25 m.
90Entered at the New York Post Office as Second Class Matter.
92SPENCER T. DRIGGS – – – BUSINESS MANAGER
94Rates for Advertising on Application
95All remittances for subscriptions or advertising must be made by check, draft or money order, payable to THE MUSICAL COURIER Company.
96Advertisements for the current week must be handed in by 12 M. Monday.
97All changes in advertisements must reach this office by Friday, 5 P. M., preceding the issue in which changes are to take effect.
98American News Company, New York, General Distributing Agents.
99Western News Company, Chicago, Western Distributing Agents.
101THE MUSICAL COURIER EXTRA
102Published Every Saturday During the Year
103GREATEST ADVERTISING MEDIUM FOR MANUFACTURERS AND IMPORTERS OF MUSICAL INSTRUMENTS OR PARTS THEREOF. SPECIALLY DEVOTED TO THE PIANO AND ORGAN INDUSTRY. For Particulars apply to SATURDAY EXTRA DEPARTMENT.
105BACK for the season?
106WHAT'S the matter with the Paderewski jury?
107Nothing doing?
108THAT creaking sound heard all week was the opening of studio doors after the long vacation.
109THIS is the time of year when the sunburned singer begins to worry about her décolleté dress at early season concerts.
110THE Musical Courier "beat" the New York daily newspapers just four days on the news that Heinrich Conried would arrive in New York next week.
111At the time of his death Edvard Grieg was under contract for an American tour next season and the public announcement was to have been made this month.
112THE Musical Courier is requested by Madame Grieg to publish the following:
113CHRISTIANA, NORWAY.
114My most heartfelt thanks to all who honored the memory of my husband and bestowed their sympathy upon me.
115(Signed) NINA GRIEG.
116An inquiry has reached this office regarding the reasons why Timothy Adamowski and his brother, the cellist, resigned from the Boston Symphony Orchestra. It is generally understood that Timothy Adamowski expected to succeed to the position of concertmeister, and being disappointed in this he and his brother retired.
117BURRIAN, the tenor of the Dresden Opera, has been declared guilty of "contract violation," because he refused to keep his engagement at the recent Styrian musical festival in Austria. In America the mere breaking of a contract of that kind is not considered a serious matter, but in Germany and Austria the consequences are more costly, for the opera houses and musical organizations in those two countries have formed an association which pledges itself not to engage an artist guilty of "contract violation" until he has paid a large fine, many times in excess of the actual amount involved. The system would have its advantages on this side of the world, where musical contracts are too often regarded with a leniency which is as inexplicable as it is unbusinesslike.
118DR. GROSSMAN, of Berlin, has been experimenting along the line of producing a violin capable of yielding a superior tone in volume and quality, and Seifert, the Berlin violin maker, built the instruments designed by Dr. Grossman. THE MUSICAL COURIER explained the latter's system in detail and published Arthur M. Abell's analysis of it. Since that time many communications, adverse and otherwise, have been received in this office, revealing a wide difference of opinion on the value of the Grossman ideas. THE MUSICAL COURIER was eager to obtain the view of an American violin builder, and to this end asked Knute Reindahl, of Chicago, to contribute a practical statement to these columns. It is published on another page of THE MUSICAL COURIER. Mr. Reindahl, whose atelier is in the Athenaeum Building (Chicago), is visited yearly by many well known fiddlers on tour, and in their oft expressed estimation is one of the leaders of the modern school of violin makers.
119"PROFESSOR" HOOPER, of the Brooklyn Institute, Greater New York, insists, before engaging musical artists for the concerts of the Institute, upon hearing them first. This may be exercising a function purely ministerial, but even then the question arises whether that audition can have any artistic consequences, because "Professor" Hooper does not know the difference between a chromatic and a diatonic scale—that is, his sub-consciousness is not aware of the difference. A Chopin etude would be the same as a Ravina study and a Lassen song the same as a Strauss, Reger or Pfitzner to him. Many men of fine mental gifts have not the capacity to conduct a hotel successfully, and there are millions of cultured beings that could not endure the performance of a Beethoven sonata. It is no reflection upon their characters; not in the least. "Professor" Hooper is evidently a successful manager, and therefore it is strange that he should make the Institute ridiculous by demanding that musical artists should first perform before him before he decides upon engaging them. Does he not see that he has been making a fun focus of himself?
120METROPOLITAN PROSPECTUS.
121The Metropolitan Opera has issued its prospectus for the season, and promises to produce, in addition to the regular repertory, the following novelties: "Fidelio," "Freischütz," "Iris," "André Chenier," "Otello," "The Flying Dutchman," "Trovatore," "Mefistofele," "Adriana Lecouvreur," "Mignon," "Das Nachtlager Von Granada." The Metropolitan's sopranos are to be Bella Alten, Bessie Abott, Lina Cavalieri, Gina Ciaparelli, Emma Eames, Felia Dereyne, Geraldine Farrar, Rita Le Fornia, Olive Fremstad, Johanna Gadski, Anne Girard, Martha Lefler Burckard, Lucille Lawrence, Lucy Lee Call, Marie Mattfeld, Berta Morena, Marie Rappold, Marcella Sembrich and Marion Weed. The contraltos are Louise Homer, Kirkby-Lunn, Frida Langendorff and Josephine Jacoby. The tenors are Julius Bayer, Alessandro Bonci, Alois Burgstaller, Carl Burrian, Enrico Caruso, Andreas Dippel, Heinrich Knote, George Lucas, Riccardo Martin, Giovanni Paroli, Albert Reiss, Charles Rousselière and Giuseppe Tecchi. The baritones announced are Bernard Bégué, Giuseppe Campanari, Eugene Dufriche, Otto Goritz, Adolf Muehlmann, Antonio Scotti, Franz Stiner, Riccardo Stracciari and Anton Van Rooy. The basses will be Raffaele Barocchi, Robert Blass, Theodore Chaliapine, Marcel Journet, Vittoria Navarini and Pol Plançon.
122I WAS PRESENT
123Since hoary musical reminiscences are fashionable just now, THE MUSICAL COURIER wishes—without laying itself open to the imputation of being in its anecdotage—to call attention to the fact that one of its reporters was present at the very last musical festival held in Jericho (where the famous accident occurred to the outer partition of that city), and that he not only wrote in these columns a very fine, though very severe, criticism of the tone of the valvular trumpet* used at the final concert, but also remained until the very moment when the walls fell in, and reported that fearful happening with accuracy and a stylographic pen. It will be remembered that some sawdust found after the catastrophe, just outside the chief thirst emporium in Jericho, implied that several music critics had their skulls crushed in, but as the bodies were not found their identity could never be established, the various bunches of sawdust resembling one another to the last detail. The dean of the critics at that time was one Hamu Rabbi, as shown in the cuneiform inscriptions recently discovered on the ancient site of Jericho. He looked like Lohengrin, but was known to his intimates as "The Buzzard," owing to his habit of sticking his 'proboscis into all kinds of unsavory musical scandal. He wore an orange colored hat and drank buttermilk to excess, besides writing program annotations for the Ancient and Honorable Jericho Pillharmonic Society of Conscript Fathers. Recollections of music festivals held in 1870 or thereabouts? Bah! THE MUSICAL COURIER's experiences will hark back to the Stone Age when once its flow of reminiscence begins. That latter period is a long way off, however. At the present time THE MUSICAL COURIER is going forward, not backward.
124*An original patent of Tubal Cain. We found this in Grove's.—Editor.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.