Books › Musical Courier 1913-05-28: Vol 66 Iss 22, 1913 › scan 19
Scan 19
Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
128 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 22. See the scan on archive.org.
1CINCINNATI ORCHESTRA REPORT.
2A reorganization of the board of directors of the Cincinnati Symphony Orchestra Association Company, which operates the Cincinnati Symphony Orchestra, was effected at the annual meeting of that body. According to the new plan the board of directors will be increased from fifteen members to twenty-five. The ten new members will be the gentlemen who have heretofore constituted the advisory board, that body, thereby going out of existence. The fifteen members of the former board of directors, composed of ladies, were re-elected. The men who have been added to the board are the eight of the former advisory board—A. H. Chatfield, Julius Fleischmann, Maurice Freiberg, Harry M. Levy, J. G. Schmidlapp, W. Kesley Schoepf, Charles P. Taft, Clifford B. Wright—and the following additional members, George W. Armstrong and William Cooper Procter.
4The plan of carrying on the business of the association through an executive board, which was tried tentatively during the past few months, was made a permanent feature. This executive board, which practically operates the association, is elected from the new board of directors, and is as follows: A. H. Chatfield, chairman; Charles P. Taft, W. Kesley Schoepf, Mrs. Joseph Wilby, Bertha Baur and Mrs. J. Walter Freiberg, with Mrs. Charles P. Taft, president of the association, an ex-officio member.
6The details for the next year's series of concerts were also determined upon. The orchestra will be increased to eighty-six members. This is done in order to prepare it for the next May Festival. There will be a number of changes among the wood instruments and a strengthening of the first violins and the cellos. Dr. Kunwald will also bring several necessary instruments from Europe.
8As heretofore there will be twelve pairs of regular symphony concerts. The first will be on November 14 and 15 in Emery Auditorium.
10There will be no soloist at the first concert, which will present a Wagner program in commemoration of the centennial of that composer's birth. The soloists already engaged are as follows: Fritz Kreisler, Carl Flesch, Emil Heermann, Harold Bauer, Josef Hofmann, Teresa Carreño, Julia Culp, Margaret Matzenauer, Julius Sturm.
12The number of popular concerts will be increased from six to eight. They will begin immediately after the first of the year and will again take place in Music Hall.
14The detailed report of Mrs. Katharine D. Jamieson, the treasurer of the association, is as follows:
16RECEIPTS.
17From Tickets—
18Season tickets ……………………………………… $25,271.10
19Auction premiums …………………………………. 5,758.50
20Single concerts ……………………………………… 6,802.00
21Total ………………………………………………… $37,831.60
22Annual contributors ………………………………… 50,874.83
23Donations ……………………………………………. 14,000.00
24Advertising in programs …………………………….. 3,253.00
25Outside Engagements—
26Receipts …………………………………………….. 12,162.16
27Disbursements ………………………………………. 11,965.55
28Total receipts ……………………………………… $196,61
30Popular Concerts—
31Receipts …………………………………………….. 8,010.11
32Disbursements ………………………………………. 3,478.71
33Total ………………………………………………… $4,531.40
35Local Engagements—
36Receipts …………………………………………….. 2,647.40
37Disbursements ………………………………………. 852.15
38Total receipts ……………………………………… $1,795.31
40DISBURSEMENTS.
41Salaries ………………………………………………. 95,219.90
42Soloists ………………………………………………. 4,580.00
43Rent of Emery Auditorium …………………………… 3,355.00
44Programs and printing ………………………………. 1,824.60
45Newspaper and poster advertising ………………….. 5,463.22
46Office rent ………………………………………….. 437.81
47Office expense ……………………………………… 701.55
48Sundry expenses ……………………………………. 2,796.23
49Interest on overdraft ……………………………….. 46.23
50Total disbursements ………………………………… $114,433.54
51Deficit ………………………………………………. $1,950.76
53TIMES HAVE CHANGED.
54In glancing over the advertisement reproduced herewith, one notices, with a quiet smile, that the music critic of the New York Sun, who, on several occasions, referred somewhat heatedly to the much discussed concert given by Richard Strauss at the Wanamaker department store a few years ago—we say, one notices, with a quiet smile, that the self same music critic of the New York Sun was lecturer at a "Wagner Festival," held last week in, and instituted by, that self same Wana-
56(Advertisement in the New York Evening Post of May 20, 1913.)
58Born May 22, 1812. Wilhelm Richard Wagner. Died Feb. 13, 1883.
60"Has he perchance a talent for music?"
61"I heard him (Ludwig Geyer, Wagner's stepfather) then with feeble voice say to my mother: 'Has he perchance a talent for music?' On the early morrow, as he lay dead, my mother came into the children's sleeping room and said to each of us some loving word. To me she said: 'He hoped to make something of thee.'"
63Wilhelm Richard Wagner's Autobiography.
65To mark the 100th anniversary of the birth of the great composer who raised the symbolism of the lyric drama to its highest power, a five days' Wagner Festival
66beginning this afternoon, will be given in the Wanamaker Auditorium at half past two each afternoon.
68Today
69Lecture on the life and works of Richard Wagner by William E. Flint, illustrated with views of scenes from the operas and portraits of contemporary musicians.
70Wagner musical program by John Barnes Wells, tenor; Jacques Kasner, violin; Alexander Russell, organ and piano.
72Wednesday—Wagner Angelus Matinee
73Lena Conkling……Soprano P. K. Van Tors……Angelus Pianist
74Paul Kefer……Cello Alexander Russell……Organ
76Thursday—Wagner Centennial Day
77The Volpe Symphony Orchestra of 50 men. Arnold Volpe, conductor, in an entire Wagner program.
78Unveiling of bust of Richard Wagner in the Auditorium.
79Address by Mr. W. J. Henderson, musical editor of the New York Sun and author of a Life of Wagner.
81Friday
82Wagner Organ Recital………….Alexander Russell
83Edna Dunham………….Soprano
84Jacques Kasner………….Violin
86Saturday
87Lecture on the life and works of Richard Wagner by Wm. E. Flint, with views and scenes from the operas and portraits of contemporary musicians.
88Musical program by Clifford Cairns, Barso Cantante, and the Madrigal Club of Newark, N. J.—Mr. Russell, Conductor.
90Also, Each Day
91From 11 to 12—Organ and Victrola Wagner Recital in the Auditorium.
92First Gallery, New Building.
93From 10 to 11 and 2 to 4:30—Organ and Victrola Wagner Recital in the Rotunda of the Old Building.
95maker department store. The Musical Courier considers the critic's course entirely ethical. He has a right to change his views and he certainly has a right to lecture whenever and wherever he pleases, just as Richard Strauss had a right to give a concert in the Wanamaker department store. Art is at home wherever it happens to be. While we missed the pleasure of hearing the lecture by the Sun critic, there is no reason to assume that it was not as good in its way as the Strauss concert held in the same building some years before.
97WHILE THE MUSICAL COURIER is modest and humble, it wonders whether its words regarding the dinner to be given to the Century Opera founders did not carry a weighty message to quarters where such a hint would be likely to do the most good? At any rate, this notice appeared in one of the New York dailies last week: "Owing to the fact that the list of founders of popular opera at the Century Theater is being added to daily, a majority of the founders have requested the City Club committee to postpone the dinner to be given for them until it is completed. Some of the largest subscribers to the Century Opera Company have recently gone out of town, hence the committee has decided to wait until fall, when all may be present."
99REMARKS ON RAG-TIME.
100Two letters which appeared recently in the Paris edition of the New York Herald are not without interest to musical readers on this side of the salty pond. The first of the communications, headed "Demoralizing Rag Time Music," was this:
102To the Editor of the Herald:
103Sir—Can it be said that America is falling prey to the collective soul of the negro through the influence of what is popularly known as "rag time" music? Some sociological writers of prominence believe so; all psychologists are of the opinion. One thing is infallibly certain: if there is any tendency toward such a psychological amalgamation, toward such a national disaster, it should be definitely pointed out and extreme measures taken to inhibit the influence and avert the increasing danger—if it has not already gone too far.
105There is nothing more vital in the expression of the life of any race than its music. Its music is the symbolism for the summary of its emotional attainment and possibility. There is no need saying that the "rag time" music has its visible source in the ancestry of negro music. It is negro music more modernly adapted. It was "typically" negroid in the years prior to the Civil War. It bears radical resemblance to the fantastic waywardness of Creole song. It is a modulated derivation. Now, the most significant fact about this music is that it has become typically American. It has outgrown its negroid limitations and has achieved national importance. There is a popular "demand" for it.
107There is a certain sway and swing, a certain indescribable, sensuous something appealing and suggestive, about the ring and melody, of rhythm and versification of this music. Scrutinizingly criticised, every one of the songs is insidiously perverting; they are indicative of relaxative morality, of disparagement of the marital tie, of triviality in relationship of sex, etc., and the entire moral code might be included. There is not even an attempt made at concealment of the thought conveyed in the song. It is out and out vulgarity.
109It has been implied that the music of a nation or a race is symbolic of its collective character and the discrepancies of its individual character. Accordingly, the American "rag time" or "rag time" evolved music is symbolic of the primitive morality and the perceptible moral limitations of the negro type. With the latter sexual restraint is almost unknown, and the widest latitude of moral uncertainty is conceded. Be that as it may, it is of relative importance isolatedly considered. Its significance lies in whatever influence it may exercise over the average American mind.
111I hope you will find space to give publicity to a danger that is threatening the morals and the very life of America.
112WALTER WINSTON KENILWORTH.
11384 Bd. de Courcelles, Paris.
115From picturesque Nice, on the sunny Riviera, came a quick answer to the Kenilworth effusion, and the writer of the reply was no less a person than Alma Gluck, the operatic soprano. Her letter, captioned "America and Good Music," read as follows:
117To the Editor of the Herald:
118Sir—I read with indignation the jejune apprehensions of Walter Winston Kenilworth in your issue of April 23. I say indignation—because while to a certain number his remarks are jejune, there are unfortunately a great many more who would take these remarks seriously.
120During the past season America has been visited by the greatest living musical artists.
121We all know that, while these artists are lovers of natural scenery, it is not that that brought them to America. In other words, I mean to say that it is the great demand for them and the consequent remuneration (this is the best proof of their popularity) that attracts them to America. I must, in justice to Americans and in defense of their musical tastes, call attention to the fact that a country that spends millions of dollars annually for good music is not in imminent danger of being influenced by rag time.
122(no line here) one of two readings
124Rag time music, as your worthy correspondent informs us, has existed in America since before the Civil War. Classical music was only introduced at that time. From its colossal growth in popularity it is evident what a role it plays in the present life of the American. Rag time music is to us Americans what Mayol is to the French. I leave it to the mind of the public to determine which is the more injurious morally.
125ALMA GLUCK.
127Alma Gluck makes Mr. Kenilworth a good answer, but it is not sweeping enough, nor does it
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