Books › Musical Courier 1907-10-02: Vol 55 Iss 14, 1907 › scan 21
Scan 21
Musical Courier 1907-10-02: Vol 55 Iss 14, 1907
112 lines. Read by computer on 24 September 2026. Printed page 22. See the scan on archive.org.
1gave orders to his lawyer to let him know the result by telegraph. After several days he got the following telegram:
2"Right has triumphed."
3He at once telegraphed back:
4"Appeal immediately."—Il Mundo Umoristico.
6In very truth, the following is a fish story from E. M. Bowman:
8NEW YORK, September 18, 1907.
9MY DEAR SIR—I write to thank you for the compliment paid me by THE MUSICAL COURIER in reproducing in its issue of September 11 the little snapshot of a fish and a fisherman, which Mrs. Bowman made recently at Billy Soule's Pleasant Island Camp, Cupsuptic Lake—of the Rangeley chain—Maine, a copy of which I sent to you as a personal greeting from "the woods."
10It is too bad to spoil the clever alliterative title to your story, "Bowman and the Bass," but, in the interests of truth and the possible prevention of any sportsmen going to that locality in the hope of catching bass, I must tell you that the "bass" of the picture was a landlocked salmon. I do not recall mentioning the kind of fish; at least I did not call it a bass, for I knew that no bass are caught in those waters, their game fish being salmon and trout, for which Cupsuptic Lake is famous. Indeed, the largest brook trout ever caught was taken near Soule's camp by Senator Wm. P. Frye. If your readers would like some fine bass fishing let them try Detroit Lake, about 200 miles north or northwest of St. Paul, Minn. I have taken six-pound Oswego bass there that made the line fairly hum as it cut the water in their mad rush to break away. That was sport worth a hundred cents on the dollar. And so was the battle I had with the salmon. Thanking you again for your courtesy, I am, though a fisherman,
11Very truthfully yours,
12E. M. BOWMAN.
14LESCHETIZKY'S HAND.
16"The Slandered Salmon," then.
18Charles Martin Loeffler has completed a new work for orchestra and piano, a "Pagan Poem," suggested by an Eclogue of Virgil.
20Brüll left a posthumous opera named "Rübezahl."
22Leschetizky's hand, pictured on this page, refutes for itself the assertion made by some of his malicious detractors that his palm is always up.
24"Paderewski's symphony will not be heard, after all, in America this season. This is the second year's postponement, and the composer himself says that he does not know when he will complete the work to his satisfaction."—Boston news note. Why not insert an advertisement in THE MUSICAL COURIER:
25LOST—Inspiration for a symphony. Return to I. J. P., Morges, Switzerland.
27Mascagni is beginning to wish that he had composed his other operas first and "Cavalleria Rusticana" last.
29Beware of a man of one composition.
31What other musicians beside Mozart, Wagner, Beethoven and Haydn were named after Chicago streets?
33"No more first class fiction is being produced these days," says an English reviewer. Evidently he has never read an opera prospectus.
35Said the stuttering baritone Gantz,
36When asked by the chorister Rantz,
37If 't was his desire
38To sing in the choir,
39"I'd j-j-j-jump at the chants."
40October Lippincott's.
42With apologies to W. E. Henley this is an original "Ballade of Dead Singers":
43Where are the arias they essayed,
44And where the tones that tickled so?
45Where the cheap humors they portrayed
46For stupid worlds to see and know?
47Stradella's love and Norma's woe?
48Rosina's whims and Luna's gall?
49And Selika and Romeo?—
50Into the night go one and all!
52Where are their braveries, fresh or frayed?
53The plumes, the armors—friend or foe?
54The cloth of gold, the rare brocade?
55The mantles glittering to and fro?
56The pomp, the pride, the royal show?
57The songs of sin, of love the call?
58The voice, the youth, the dash, the glow?—
59Into the night go one and all.
61The curtain drops, the lay is done;
62The Super packs beside the Duke;
63A curse falls from the veiled Nun;
64The Priest sports Don Juan's peruke.
65Where are the singers, high and low?
66The mincing "stars" in jealous brawl?
67The chorus, shouting row on row?—
68Into the night go one and all.
70Envoy.
71Prince, in one common overthrow,
72The Tenor tumbles with the thrall.
73As dust that drives, as straws that blow,
74Into the night go one and all.
75LEONARD LIEBLING.
77TOSPELL WELL KNOWN HERE.
79Enrico Toselli, the young Italian pianist, who married the divorced and deposed Crown Princess of Saxony last week in London, is the same Toselli who appeared publicly in America as a seventeen year old boy during the season 1900-01. His New York debut was made at Carnegie Hall, January 15, 1901, and his second recital in this city was at Mendelssohn Hall, January 31, 1901. On January 23, of the same year, he played the Martucci concerto with the Pittsburgh Orchestra. These were Toselli's two New York programs:
81CARNEGIE HALL, JANUARY 15, 1901.
82Toccata and fugue…………………Bach-Tausig
83Musette…………………………….Handel-Martucci
84Gavotte…………………………….Handel-Martucci
85Etude, A major……………………..Rubinstein
86Nocturne, E flat, op. 9…………….Chopin
87Berceuse…………………………..Chopin
88Polonaise, A flat……………………Chopin
89Liebestraum, No. 3…………………Liszt
90Toccata…………………………….Martucci
91Tarantelle…………………………..Martucci
92Encores: Chopin's D flat valse, Rubinstein's Valse Caprice and a valse by Toselli himself.
94MENDELSSOHN HALL, JANUARY 31, 1901.
95Andante Varie……………………….Haydn
96Sonata, op. 27, No. 1………………Beethoven
97Preludes, Nos. 1 and 3…………….Chopin
98Polonaise, op. 26……………………Chopin
99Tarantelle…………………………..Chopin
100Canzone Lituanica…………………..Chopin-Sgambati
101Etude de concert……………………..Martucci
102Scherzo……………………………..Martucci
103Improviso…………………………….Martucci
104Gondola (dedicated to Toselli)………Leoncavallo
105Toccata……………………………..Sgambati
107ELSA RUEGGER, the cellist, well known in this country through her tours here, has accepted a position in Berlin to teach at the Klindworth-Scharwenka Conservatory. She will have two classes there, one for solo playing and one for chamber music, and her duties are to begin on October 15, after the completion of her present recital tour in Switzerland. It is understood that Miss Ruegger's pedagogical activity will not eliminate her entirely from the concert field, as she is to receive sufficient vacation each season for a limited amount of touring.
109RICORDI, one of the Milan publishing house, who was prominently mentioned as a successor of Heinrich Conried and who has given evidence of great activity to secure the successorship, has refused to furnish the score and material of several operas wanted by the San Carlo Opera Company, conducted by Henry Russell, for their tour in this country this season. The people will resent this. They want to hear those operas, and Mr. Russell cannot get them, because Ricordi, who owns the property for the purpose of representation, will not furnish the scores and what is called the material. Mr. Maxwell, an English gentleman who represents the Ricordi house in this city, should convey to the home firm some information regarding public sentiment in the United States when a thing of this kind occurs. If Mr. Ricordi really believes he can get the management of the Metropolitan Opera House as the successor of Conried, this is about the worst course he can pursue, because it would make him extremely unpopular. If he has any competitors they will be delighted to hear of this attitude of his.
111With its first issue for the year 1907 THE MUSICAL COURIER began a series of short editorials which chronicled the birthdays and dates of death of musicians and composers generally known to the present generation. Lists were published weekly. All went well until the late spring, and then THE MUSICAL COURIER historian was consumed with the desire to know how many musicians had been born since music was recognized as an art and how many had passed beyond to claim their reward in a better world. Some names had to be omitted, because the publishers of musical dictionaries neglected to give dates. Evidently there have always been men and women who were sensitive about their age. Now that the musical season is about to open, and space in THE MUSICAL COURIER is most precious, the historian must return to the original plan and include only names of composers and musicians personally known to the majority of our readers. If any living musicians should find their names omitted they must blame the publishers of the musical dictionaries, for it is strange how many well known men and women have been overlooked and how many obscure and unimportant persons have had their biographies recorded. Some of the musical anniversaries for the first week of October are: October 1—Pierre Marie de Sales Baillot, born in Passy, in 1771; Gustav Adolf Heinze, born in Leipsic, in 1820. October 2—Heinrich Panofka, born in Breslau, in 1807; Johann Gottlieb Naumann, died in Dresden, in 1801. October 3—Waldemar Bargiel, born in Berlin, in 1828. October 4—Charles Ferdinand Lenepveu, born in Rouen, in 1840; Hugo Brückler, died in Dresden, in 1871. October 5—Vicenzo Battista, born in Naples, in 1823; Jacques Offenbach, died in Paris, in 1880. October 6—William Batchelder Bradbury, born in York, Me., in 1816; Jenny Lind, born in Stockholm, in 1820; Léon François Kreutzer, died in Vichy, in 1868. October 7—Wilhelm Bernard Molique, born in Nuremberg, in 1802; Charles Crozat Converse, born in Warren, Mass., in 1832; Felix Draeseke, born in Coburg, in 1835. October 8—Emil Sauer, born in Hamburg, in 1862; François Adrien Boieldieu, died in Jarcy, in 1834.
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