THE
(fttjftk
With which is incorporated THE MUSIC TRADE JOURNAL
YOL. III.
N E W YORK, S E P T E M B E R 20TH, 1880.
No. 4
We have our Symphony concerts, with orchestras of 60, 80, even 100
THE REASON WHY.
f I ^HEEE is a general complaint that musical people do not give sufficient performers ; we have oratorio performances with well drilled choruses ; we
_1. support to operatic performances in America ; that the Italian per- hear all the modern and classical orchestral works during the season, and
formances are patronized by the fashionable world, while the uncultivated our musical people enjoy these concerts. The operatic representations are
mass is willing to support English opera. The complaint is perfectly justi- not on the same level; they are money-making enterprises. At least operatic
fied, and while we cannot blame the musical public, we do not wish to make managers try to make money, and cannot have the highest regard for Art. Is
the managers in all cases responsible for something which is beyond their it astonishing that musicians do not take special interest in operatic matters ?
power to remedy. Operatic performances are a most expensive luxury, and Maybe, there is help for it; but at all events the fact itself is established
are hardly possible without subsidies from some source. Whether the sub- beyond any doubt. .
vention comes from the treasury of the government or the pockets of private
individuals, it is all the same to the manager. Not a single operatic enter-
LOVE'S LABOR LOST.
prise in Europe could exist without financial help, and we do not see any
reason why the case should be different in America, where singers, choristers,
YOUNG lady called on us the other day and complained, with tears in
musicians, advertisements, and stage carpenters, are much better paid than
her eyes, that she had no chance of an engagement, because her voice
on the other side. It is true our prices for stalls and boxes are higher, but was so small, that she could not satisfy the style of singing which is looked
not to the extent that will warrant the enormous outlay necessary for good for in most of the concerts given in New York. The young lady we speak
operatic performances such as New York wants to have, and, from an artistic of is not dependent upon her earnings as a singer, but she has ambition ; and
standpoint, is entitled to have.
as she has spent a great deal of money for her education in Europe, she
In regard to ensemble operatic performances, those in Europe are more would like to have an equivalent for it now, at least as far as her artistic
enjoyable than here, for even with mediocre singers they offer a large success is concerned. She never wanted to go on the stage, and the studies
orchestra, a strong chorus, a splendid mise en scene, an exquisite ballet. If she has made in Italy, Paris and London, have been devoted exclusively to
our managers should strive to rival those performances they would be bank- concert and oratorio style. The voice of the singer is very sweet and attrac-
rupt before the season opened. Mapleson, with all his short-comings, and tive, but it is small, and her style lacks breadth. Whenever she sings in
with all the weak points of his troupe, comes nearer to the idea of an ensem- public, the critics find fault with her for one or the other thing, and she
ble than the representations of other managers for the last five years. His begins to feel that her teachers in Europe did not understand what is wanted
performances have at least an artistic shape, and we have principally Signor in America. With moist eyes, she said : "Why did I study oratorio for two
years with Signor B. in London, if my voice is not suitable for oratorio ? "
Arditi to thank for it.
That Mapleson could do more in this respect we do not believe, because Well, we did not answer her—but most probably Signor R. was invited to try
the exertion could not be made a paying investment, and, as only fashionable oratorio with the girl—-and whether she would do in later years for that style
people will support his season, he has to look out for a star and not for bril- of music, he was never asked. He was well paid, and did all in his power to
liant appointments. People here do not go to hear an opera, they go to hear make the American lady sing some of the most popular oratorios. The girl
Nilsson, Gerster, Lucca, or whatever the name of the attraction pro tempore is an excellent interpreter of ballad music, but to become that it was hardly
may be. The individual has to do the business ; consequently the impres- necessary to remain six years in Europe, to spend money and time, and then
ario does all in his power to concentrate the attraction of his patrons on this return to a city where ballad music is not sought for. A ballad singer in
London can make a fortune, while in New York she would starve. There
individual.
It has been our opinion for a long time that Italian opera in this are few ballad concerts here, and for these managers can find enough young
country has seen its palmiest days, and we must come to English opera. singers hardly out of school, who will not only offer their services gratis, but
Every year more and more is done in this line ; and even Max Strakosch pay the manager for the chance of a public appearance. We can understand
enters the field this season as manager of an English opera company. Unfor- the feelings of an artist who has made serious studies, has worked and loitered,
tunately our English opera companies are traveling companies, and as such and finally finds herself on the same level with hundreds of other girls who
can never reach the deserved artistic standard. In many cases the scores never went through the tortures of vocalization, and nevertheless find small
have to be reduced to the instruments engaged ; in many cases operas have engagements, which satisfy their ambition. An artist who is only fit for
been scored here for small bands ; and of course a work with diluted miscellaneous concerts has no chances whatever in New York, for with all
instrumentation cannot be fairly judged. Even Suppe's operettas, written the symphony, oratorio and chamber music concerts, where high-toned
for the full orchestra of the Vienna Carltheatre, have lost a great deal of music is performed, there is very little chance left in our city for those who
their charm here when played by an orchestra of about 17 performers. A want to show their talent in miscellaneous concerts. The lady we speak of
gentleman last winter, after hearing " Boccacio, " said : " I wonder what New should be a warning example to all those who want to study for the pro-
Yorkers would say if they once heard an operetta ! " The gentleman had fessional career. If they want to embrace the operatic career they can find
employment. If they have voice and musical soul enough to be efficient in-
lived in Vienna for many years and knew the difference.
of oratorio music, and the grand style, they will carve their way ;
The Abbott troupe is going to perform during the season Nicolai's terpreters
but
as
simple
ballad singers, it is hardly worth while to spend much money
opera, "The Merry Wives of Windsor;" but how will they perform this in view of a renumerative
future, except they are willing to look for a field of
work ? The beautiful instrumentation will be ruined by the management, activity out of the boundaries
which is unwilling to spend the necessary amount of money for an efficient prove : " Love's Labor Lost." of the city of New York. Here it will always
orchestra, and so the principal charm of the work will be lost. The new
baritone, James, is cast for Falstaff, which is sheer nonsense. Mr. James is
reported to be an excellent singer, with a voice of astonishing range ; but
MUSICAL PATRIOTISM.
to make the role of Falstaff effective it wants a real bass voice, a genuine
Baas timbre, which no baritone can have. Those who know the opera
E have heard Gilmore's "Columbia" at Manhattan Beach. Our opinion
well will remember the recitative between Ford and Falstaff, when the latter
on that outburst of musical patriotism remains unchanged, but it
repeats after the wo.rds : " My name is Brook," the name on the lower G. reminded us of another instance of patriotism, converted into musical expres-
We have to see the baritone yet who is able to sing that tone with emphasis. sion which happened some years ago in Vienna. Westermeyer, a man of
So, judging from previous experiences, we have reason to believe that Nicolai's means, and a very good musician, was very much liked in Vienna on account
work will be slaughtered, as many other operas have been before. We do not of his pleasant address and nice musical works. Although he was an ama-
ask unreasonable things from managers. Our remarks in the beginning of teur, the musical profession had acknowledged him as one of their brethren,
this article must have proved that we know exactly the limits of what can be which means a great deal in the Austrian capital, where composers and
done and what is impossible ; but if managers expect the musicians to take musicians form a kind of club, and are connected by congenial habits and
interest in their work, they must give real musical performances.
frequent mutual intercourse. Suddenly Westermeyer, who belongs to the
Somebody suggested not long ago that a season of Wagner's operas Austrian nobility, conceived the idea of becoming a patriot, and wrote an
would be an excellent speculation. If somebody would take the pains to overture founded on the Austrian Hymn. The work, by command of the
make the calculation, how much such a season would cost (provided the Emperor, to whom the overture was dedicated, was performed by all the
operas were performed as they should be given), he would find very quickly military bands of the Empire, and the public at large began to speak for a
that the balance-sheet would show a loss to the manager. We do not see short time of the composer of the patriotic overture ; but the musical pro-
how any, manager would dare to think of such an enterprise. He would find fession in Vienna discarded him at once, and his name could hardly be
support, we do not doubt ; but his expenses would nevertheless outweigh mentioned among them without being followed by some ridicule or sneering
the support. Wagner's operas, produced with all the necessary paraphernalia, remark. Westermeyer has been decorated by the Emperor for his overture ;
would involve an outlay which even the most enterprising manager would and while his patriotic intentions were duly rewarded, his musical standard
not face. Of course, we could have performances on the cheap plan, and we from that day waned, and now his name is entirely forgotten both by the
have had them. With the exception of Strakosch's "Lohengrin," all our public and the musical profession. Musical illustrations of patriotic feel-
Wagner performances have been on the cheap plan ; but New Yorkers do not ings are very dangerous experiments, and Mr. Gilmore has acted very
care lor tnese representations, patched up and slipshod ; and no performances wisely not to appeal at all to the musical profession, but only to his fellow-
at all are preferable. There is a certain class which would imbibe Wag- citizens, who will not criticise but only admire.
neriaii performances with interest; but this class could not satisfy the ticket
olhee ana the salary list. Let us be reasonable and do not let us ask more
of iuiuu. ti ers than they are able to give. They have to see their way through,
AMBRE.—Mdme. Ambre is at present the star of Copenhagen, receiving
aud g.n! performances according to their best ability.
enthusiastic ovations in "La Traviata " and " Ernani." Very strange !
A
W