Scan 7
Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
122 lines. Read by computer on 26 September 2026. Printed page 10. 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.
1THUEL BURNHAM
2TEACHER OF PIANO
3Pupil of Leschetizky and William Mason
4119 Rue de la Tour (XVIIe) PARIS
6L. d'AUBIGNÉ
7Teacher of Singing
811 rue de Magdebourg, Paris
10CAMILLE DEGREUS : OF :
11PARIS
12Pianist and Accompanist
13WITH YSAYE IN AMERICA 1912-13
14Address: care of R. E. Johnston
16Jean Verd PIANIST
1735 Rue Vincene – Paris
19Frederic Ponsot
20Soul professor de chant diplômé
21par Mme. Mathilde Marchesi
22151 rue de Rome
24ARTHUR ALEXANDER TENOR
255 rue Pajou PARIS
27CONSERVATOIRE des Violinistes
28ALBERTO BACHMANN
29DIRECTEUR
30208 Boulevard Pereire PARIS
32Madame Fitz-Randolph
33Vocal Studio
3436, Avenue du Roule Neuilly-Paris
36Novello & Co., London (H. W. Gray Co., New York).
37Three favorite songs by
38AXEL RAOUl WACHTMEISTER:
39Consolation Titania Winter Night
40Adapted from the Swedish of Gustav Fröding by Elsa Barker.
42ALEXANDER SÉBALD
43DREILINDENSTRASSE 40
44LUZERN SWITZERLAND
46WAGER SWAYNE
47Pianiste Prepared for Public Appearances
4830 Rue de Frony (Parc Monceau), Paris
50Jean de Reszke
5153 Rue de la Faisanderie Paris.
53STUDY MUSIC IN PARIS
54A. J. GOODRICH
55Florence A. GOODRICH
56PIANO, SINGING, HARMONY, MEMORIZING, COMPOSITION, ORCHESTRATION, TIME and LABOR-SAVING METHODS
5720 Ave. Victor-Hugo Paris
59LAMPERTI-VALDA
60SCHOOL OF SINGING
6161 Avenue Niel Paris, France
62All Communications to be Addressed to
63Mme. GIULIA VALDA
65OSCAR SEAGLE
66Master of Bel Canto
67PARIS STUDIO: 17 Rue Mozart
68American Tour Season 1913-1914
69For Terms, etc., address Oscar Seagle, 10A Duchess St., Portland Place, London
71Charles BOWES Vocal Instruction
72Studio: 10 Rue Herran, Paris
74PARIS
7543 Boulevard Beauséjour,
76Paris, May 13, 1913.
78[All inquiries referring to American musicians and music as well as matters of interest to American visitors in Paris, or such as contemplate a visit to France, may be addressed to Frank Patterson, 43 Boulevard Beauséjour, to whom tickets should also be sent by those who desire their recitals or concerts to be attended.]
80At the Theatre des Champs-Elysees "Penelope," Gabriel Fauré's lyric poem in three acts, was given its first Paris hearing last week and met with a great success. Whether or not this was merely a "succes d'estime" is, at present, impossible to say. Of course, it is quite possible, for Fauré is much admired here and has many friends. He is looked upon by some as being the greatest, except Saint-Saëns, of the living French composers. Not so spectacular as Debussy, but more sane and more likely to know lasting of opera. At the same time one cannot but regret that he should have chosen such a libretto as that of "Penelope," for this late attempt, for this subject is not only not acceptable outside of France, but it is altogether too heavy for this composer's light, poetic vein. France now is practically the only country in the world which welcomes and supports the classical Greek tragedy—and by that I mean the slow, old, stilted style, the characters who seem lifeless, the story which cannot interest moderns, being entirely out of touch and out of sympathy with the modern point of view. Our grandfathers may have taken an interest in these old mythological tales of Ulysses, the legendary king of Ithaca, father of Telemachus, and of his wife, Penelope, and in all their stupid, old world heroics, but we moderns certainly do not. And then, if these people are to be brought on the operatic stage we naturally expect the music which accompanies their actions to be heroic. We can imagine that Wagner, and perhaps Beethoven or Berlioz, could have adequately treated such a subject, but we cannot imagine it in the hands of a Massenet or a Fauré. For these men belong to the French school which grew out of the writings of such poets as Theophile Gautier, Alfred de Musset, Paul Verlaine, Jean Richepin, Armand Silvestre, and the rest. The works of such men are romantically picturesque. They combine two things: a deep love of nature, and an equally deep love of love and romance. If you will compare the works of any one of these French writers with the works of a Byron or a Tennyson or a Shelley you will immediately see that the difference lies in the fact that the French writers constantly associate ideas of nature with ideas of love, while the English poets write much that describes the pure beauties of nature, of heroism, of idealism, without more than a vague suggestion of the love idea.
82Now Fauré is seen best in his settings of Verlaine, and he shows that same dual nature which was so marked in Verlaine and which led to the writing of his passionate love poems and to such strange conceptions as "La Bonne Chanson" and "Sagesse." That such a man could write music to a libretto like this "Penelope" seems utterly impossible, unthinkable. To do so successfully he would have had to change his very nature, or, on the other hand, to do as Strauss has done, to modernize the ancient thought so as to make it coincide with the possibilities of his own musical conception, his own characteristic individuality. But Fauré is too conscientious to do that. Writing a Greek tragedy, or drama, he would try to be faithful to the traditional idea. And in this he has failed. "Penelope" is a large and noble work, no doubt, but it shows the evident effort on the part of the composer to mould himself to a mode of thought that is not his nature.
84Eleanor Hazzard Peacock, the American soprano, was heard in recital in Paris last week at the home of Madame Hoff, winning a great success both by the beauty of her voice and the excellence of her interpretations and impersonations. Mrs. Peacock has been having flattering
86NIKOLAI SOKOLOFF.
88and enduring fame and to bring credit to France. That is a matter of individual taste. Personally I find Fauré's music weak, lacking in vitality and passion, if not in originality, which I do not deem to be essential. I speak now not of this opera, "Penelope," but of his output as a whole. Some of his smaller pieces are charming, but, in a general way it may be stated that the smaller they are the more charming they are, the more they increase in size the more they seem to lose this charm, simply because, in the larger forms, we look for something more than mere sweetness.
90And yet Fauré's trouble may have been form. It would not be the first time in the history of music that a composer earnestly desired to be a producer of symphonic works, or works in the large chamber music forms, and found himself barred by this small matter of form. For form cannot be learned. If one has not a natural feeling for it it cannot be acquired. Yet in cases where this feeling is absent it cannot always be pointed out that the form is faulty. On the contrary, such a composer will often have his mind on form to such an extent that only that will be good in his composition. It is certainly true that Schumann, for instance, labored all his life under the difficulty of lacking a sense of form, just as he was lacking in a natural sense of orchestration—and this in spite of his extraordinary genius for composition. It seems possible to me that Fauré has been retarded by some such difficulty. His music naturally possesses that expressive character which we, rightly or wrongly, call dramatic. For this reason it seems perfectly natural that he should turn to the opera as a mode of expression. Why he should have taken this step so late in life—he is sixty-eight—is hard to say.
92After hearing "Penelope" one cannot but feel that it is to be regretted that Fauré did not do more in the line
94CHARLES W. CLARK
95BARITONE
96Dr. Frederick Clark, Personal Representative, 12 Rue Leonard de Vinci, Paris
98Doctor P. CONTA
99OFFICE HOURS:
100DAILY 1 to 4 (near the Madeleine) PARIS
102Nikolai SOKOLOFF VIOLINIST
103CONCERTS: RECITALS: LESSONS
104328 Rue St. Jacques PARIS
106REGINA DE SALES TEACHER OF SINGING
107Pupil Prepared for Opera, Oratorio, Concert
10840 Rue de Villejust (Ave. du Bois de Boulogne), Paris
109Will Teach in Paris all Summer
111KATE LIDDLE SINGER and TEACHER
112Kurfürsten Str. 54, (corner Georgen Str.) Munich, Germany
114VOCAL INSTRUCTION
115Febea STRAKOSCH
116of Covent Garden Opera, LONDON; LA SCALA, MILAN, etc.
11797 Rue Jouffroy, PARIS
119SHEET MUSIC IN PARIS
120Americans and others residing in or visiting Paris will find a large assortment of choice Sheet Music of all kinds—vocal and instrumental—at MAX ESCHIG'S Sheet Music House, 13 Rue Lafitte, near the Boulevard. Representative of Schott, Simrock and others.
121Telephone, 105-14
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