Books › Musical Courier 1909-03-17: Vol 58 Iss 11, 1909 › scan 25
Scan 25
Musical Courier 1909-03-17: Vol 58 Iss 11, 1909
101 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 26. See the scan on archive.org.
1the New York Philharmonic resulted in the biggest financial returns that organization had known in all the half century or so of its existence.
3"Some of the New York Philharmonic first violins persistently play off the key," is another of Mr. Russell's random criticisms, which is as absurd as it is untrue. Frank Damrosch is referred to as having "devoted his life to spreading musical knowledge and culture, chiefly among persons of small means," a characterization which must make the knowing smile broadly. The Russian Symphony gets this high sounding send off:
5The Russian Symphony Orchestra is a very large organization ably supported by the element in New York's musical and social worlds that is profoundly interested in Russian music.
7The Russian Symphony was made possible only by a subvention granted by Russian publishers interested in the spread and sale of the music performed at the concerts in question. There is no "element" in our musical and social worlds profoundly interested in Russian music. The support, far from being "able," forced the leader, after one season of half filled concerts, to seek engagements for his organization in other cities. Several times the finances of the Russian Symphony were in such a parlous state that the abandonment of the concerts here seemed imminent. At present the orchestra is traveling with the Ben Greet Players, appearing in performances of Shakespeare's "Midsummer Night's Dream" with Mendelssohn's incidental music. Not much Russian about that!
9The American Home Monthly, emulating the example of the Cosmopolitan, also felt itself inspired to hold forth about music, and projects into a wondering world an article called "The Genius of the Orchestra." It is illustrated with the pictures of five orchestral leaders, one of whom is called "Victor Campanini." We know of no such person. The only Campanini of our acquaintance is Cleofonte Campanini, at the Manhattan Opera House. The author of "The Genius of the Orchestra" is Charles Culver Johnson, who marshals together an astonishing array of facts, from which we make the following selection of intellectual gems:
11In the orchestra is gathered a body of men, each the possessor of undoubted musical genius.
13Today the orchestra is really the pivot that holds the opera in place.
15No higher form of art than perfect orchestration exists. Were an opera once given without the aid of an orchestra, the public would be forced to admit the undoubted importance of this mighty factor in music. one of two readings
16No higher form of art than perfect orchestration exists. one of two readings
18Were an opera once given without the aid of an orchestra, the public would be forced to admit the undoubted importance of this mighty factor in music. one of two readings
20Thus there are orchestras of the opera, the theater, the hotel, the restaurant, the ballroom, the park, and steamers that ply between the various ports.
22While the best orchestras are made up of both "wind" and "string" players, some predominate in one, while the reverse is the case in others.
24Chamber music means a stringed orchestra by itself, indoors.
26While technically, perhaps, the musicians who play together in chamber music may not always be called orchestras, popular custom has overridden technicality.
28In the symphony orchestra a slight error passes unnoticed. Let an opera orchestra player err, and a tempest is likely to follow. Thus it happens that the orchestra is to an extent often made up of soloists. The first and second violins in especial are chosen with great care. So is the bass viol player. Those who hear orchestral music rarely realize that the player of this huge instrument has to carry the air, almost as much as the first violin. The man who plays a French horn, for example, is greatly handicapped if he is heavy lipped, because when his lips assume the position necessary to impel the music, the orifice formed through which the air is to pass from the mouth is very likely to be so small that proper results cannot be secured. That is why the wind instrument player, who, of course, always blows into his instrument, is usually thin lipped.
30Of course, the Johnsonian excerpts need no further comment. But how do the sage remarks of Mr. Russell appear when placed in opposition to the single statement of such an authority as Philip Hale, who says in his Program Book No. 15 (page 1219) of this season's Boston Symphony home series: "Outside of the largest cities in America there are few orchestras well equipped and respectable in routine." That should convince the Cosmopolitan, even if our arguments might not.
32MUSIC IN BUENOS AIRES.
34BUENOS AIRES, February 13, 1909.
36Friday night, February 5, at the Apollo Theater, "Fumadas," a one act opera, was performed successfully. Señor Enrique Butero is responsible for the book, and the rich and beautiful music was written by Antonio Rodestá. The event served as an introduction for Maria Cambres, a charming young soprano with a lovely voice. Señor José Iglesia took the role of Luna, the impeccable opera composer, endeavoring to secure a hearing for his work.
38The first scene represents the office of the manager to whom Luna applies for a hearing. He gets little encouragement. The music is of the modern "conversational" type and very true to the effect desired.
40The second scene is a street with a restaurant on one side and a salon de baile on the other. The hungry composer eagerly watches for the manager, and while the crowds of operagoers enter the restaurant he threatens his own life, but is prevented by passersby. A fine chorus closes this scene. In fact, for brilliancy and life, as well as for beauty of form, I have seldom heard it equaled. It was 11:30 when "Fumadas" was begun, but in spite of this the beauty of this chorus demanded an insistent encore, and at the close of the third scene, in which the composer obtains his desires and triumphantly conducts the trial with a baton improvised out of a roll of music, two recalls made both the composer and the management happy.
42There is no news of importance this week. The society people are in the hills and at Mar de Plata, on the seashore.
43(no line here) one of two readings
45MRS. T. A. WHITWORTH.
47Organ Recital in Wilkesbarre.
49WILKESBARRE, Pa., March 14, 1909.
51The recital Sunday afternoon, March 7, in Irem Temple consisted of the first movement of a sonata by Guilmant; "Adoratio et Vox Angelica," by Dubois; allegretto, by Wolstenholme; scherzo, by Macfarlane, and a lullaby by Ijinsky, played by organist John Shepherd; nocturno, Doppler; "Salut d'Amour," by Elgar, and "Chanson Triste," by Tschaikowsky, for flute, Angelo Matera, soloist, and soprano solos by Mrs. John Shepherd, consisting of "Hear Ye, Israel," from "Elijah," and a couple of songs by Delibes.
53E. B.
55Emma Burzio, the leading dramatic soprano of Italy, is to sing the title rôle in "Electra" at the New Colon Theater in Buenos Aires this summer, while the other opera house will offer "Parsifal" as a competitive novelty.
57PODESTA.
58An actor by profession.
60The Royal Rights of Hartmann.
61[From the Piqua, Ohio, Leader and Dispatch.]
63When Arthur Hartmann, the violinist, who is touring America this season, was crossing the English Channel last year, en route for London, where he was to play, he embarked on a crowded packet at Calais and his valet asked for the stateroom which had been ordered by wire from Paris some days before. "Yes," answered the steward, "we did receive such a telegram and we were holding the best room, but this morning there came a message from the Duke of X., saying that he was to cross on this boat and desired the best accommodations, so, of course, we had to give him Herr Hartmann's room.
65"Is the duke in the room now?" asked the violinist, quietly.
67"No; he is on deck," replied the steward, "until after the steamer leaves."
69"What is the number of his stateroom?" Hartmann went on.
71"No. 1," was the answer.
73Without a word the artist walked to the chamber designated, had his valet put the bags therein, then locked the door and stretched himself out for a nap in the very comfortable cabin.
75Not many minutes later the boat started and the duke and his flunkey came downstairs. "My cabin?" inquired the aristocrat. The steward quickly explained the state of affairs. "The impudent scoundrel!" commented the duke, "we'll soon settle that." With a bodyguard consisting of the flunkey and the steward His Grace marched to cabin No. 1 and pounded lustily on the door thereof. A tattoo of five minutes, interspersed with threats and even oaths, had no other effect than to bring out the reply from within, in a tired voice: "Please go away; I'm trying to sleep."
77At that moment Hartmann's valet appeared on the scene and was pointed out by the flustered steward. "How dare your master usurp my cabin?" thundered the thoroughly incensed nobleman. "Do you know who I am? I am the Duke of X."
79"That may be," returned Hartmann's valet, imperturbably, "but my master is the king of the violin."
81The duke and his party were left without a reply and spent the remainder of the trip in the public saloon, while Hartmann slumbered on peacefully, quite unaware of his sudden accession to royalty. It was the duke who, when he cooled down after his arrival in London, saw the humor of the happening, and gave out the story for publication.
83After Hartmann had appeared at Albert Hall, with Patti, he received a telegram reading:
85"You are not the king of the violin, but the emperor. With admiration, gratefully, Duke X."
87A Lecture-Recital on English Folk Songs.
88A. Foxton-Ferguson, B.A. (Oxon.), who hails from England, made his American debut at Mendelssohn Hall Monday afternoon of this week, and endeavored to interest a willing audience in the mysteries of English folksongs and folklore. Mr. Ferguson is evidently sincerely interested in the subject, since he has himself taken the trouble of obtaining from the lips of the peasantry the traditional songs of the old country and besides has done overmuch reading on that theme. But it really seems like much ado about nothing. In the first place, Mr. Ferguson himself candidly admitted that he could not tell what a folksong is, but would have to state rather what it was not. So the auditors were as wise as when they went into the hall. In the second place, Mr. Ferguson was compelled to make apologies for his poor voice, laying the blame on the American climate. Mr. Ferguson did the best he could under the circumstances, and that, of course, was really not very good, considering how very simple the folksongs are. However, his endeavors were most sincere, and he did his utmost to be entertaining. The subject of English folksong may prove very interesting in America—to children.
90Goodson in Chicago and Brooklyn.
92The following brief notices refer to Katharine Goodson's recent appearances in Chicago and Brooklyn:
94The Quartet is always welcome here, but when it brings with it that wonderful ensemble pianist, Katharine Goodson, its strength is the strength of ten. Miss Goodson made a success as nearly sensational as one can imagine.—Brooklyn Eagle.
96It is not a work suited to the feminine temperament, but Miss Goodson came very near to reading it in manly style. She sustained the rhythmical vigor, the ponderousness and the bigness of the idea most admirably. Indeed, one was convinced that she is one of the few women pianists who think independently, and, by the same token, is to play an important part in our concert life.—Chicago Inter-Ocean.
98The Chicago criticism refers to Miss Goodson's performance of the D minor concerto by Brahms. Miss Goodson has decided to extend her American tour until the middle of May.
100Cosima Wagner is sojourning at Santa Margherita, near Genoa.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.