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THE
With which is incorporated THE MUSIC TRADE JOURNAL.
EXAGGERATION.
OME people who may imagine that they are doing a great deal of good
to this country, are eager to pronounce everything we have beautiful
and grand. We do not deny our accomplishments, but according to our
opinion it is more benefit to this republic, when we acknowledge our defi-
ciencies, and try to ameliorate the state of our affairs. Improvements can
be made in public and private life, in military and civil affairs, in matters
belonging to art and science. Intelligent Americans are always ready to
learn and to improve, and to make the circle of intelligent people in the
United States larger, it is necessary to be aware of our shortcomings. If
we are perfect, or consider ourselves so, we are sure to go to the dogs.
There is no fear for that, as the intelligent class is too numerous to allow the
flatterers full sway. The idea to write this short article struck us, when we
read somewhere, that the orchestra of our Philharmonic Society is the
finest in the world. This is nonsence, and we can prove it. The New York
Philharmonic Society is a fine institution, of which we may well be proud of.
The founders of this Society, when they started it, hardly could imagine
that it would grow out into the blooming condition it can boast of just at pre-
sent. Honor to the memory of those who laid the foundation to this great
institution, for nearly forty years ago our musical affairs were in their
infancy, and it took a great deal of courage to establish classical concerts at
a time, when only a small minority of the inhabitants of Manhattan Island
showed any interest in that style of music. The orchestra of the Philhar-
monic Society has been brought to a high standard of excellence, and the
most difficult works are being performed in a satisfactory manner. But this
standard cannot make it superior to all similar orchestras in Europe,
enthusiasts may rave about a hornplayer or a virtuoso on the oboe; they are
undoubtedly very good, but is really anybody so stupid as to believe that
Europe cannot furnish the same quality of players? Most of our musicians
are Germans ; they came to this country and left the old fatherland for dif-
ferent reasons; the principal attraction was the better pay. Orchestral
players in New York are comparatively well paid, while in Germany they
get only low prices. But if you ask all these players whence they came,
they will generally give you the name of some insignificant city or town,
you hardly ever had heard of in your life before. Large cities seldom send
any musicians to this country. The orchestras of the Court theatres are
well stocked, and members of those orchestral bodies will not give up their
positions for the sake of a better pay in America. Orchestral performers
improve in this country, because they have to work harder and have to do
their best, otherwise, more competent men may be selected to take their
places. The financial question raises their ambition, and they work
with a whim here, while in Europe they sometimes do it for duty's sake.
We kflow some men, who upon their arrival here were only inferior players,
and rank now among the best of our orchestral performers. But now let us
look at one of the most prominent orchestras in Europe, the band which
gives the Philharmonic concerts in Vienna. The violin is called the qxieen
of the orchestra; the violinists in Vienna not only have the same bowing,
but they lead the bow with the same movement of the wrist. Old Professor
Boehm was the teacher years ago, and his pupil Hellmesberger became his
successor. An equality in the strings of the Vienna orchestra is reached,
which is impossible in New York, where Mr. so and so studied in Leipsic,
while Mr. so and so learned violin playing in Breslau. We could mention
names among the first violins of our Philharmonic Society, which bow con-
trary to the elementary rules of fiddling; but why should we do so? We
do not wish to attack the Philharmonic; we esteem the body and are willing
to give them all praise due to them. Only exaggerating reports should be
rebuked. Other orchestras besides that in Vienna could be mentioned, but
comparisons are not necessary at all. Let us enjoy the good performances
the New York Philharmonic Society offers us, without comparing them to
any other orchestra in Germany, France, Russia or Honolulu.
S
No. 1
NEW YORK, FEBRUARY 5TH, 1S81.
TOL. IV.
opera companies keep together, and their union will give them strength.
The singers may kick at first against the new arrangement, but they will see
very soon that they are powerless, and in order to find engagements, they
will have to do as the managers propose. The man who pays salaries can
establish his own rules, and whatever may be said in favor of debuts from a
business standpoint, all reasoning falls to the ground in view of the enor-
mous benefits art would derive from a well established ensemble, in which
the individual has a share, but cannot gain prominence. Of course, as it is
now, a good and interesting repertoire is hardly imaginable. The prima
donna soprano wants to appear in " Lucrezia Borgia," the contralto insists
upon making her debut in "Trovatore," the donna leggiera wishes for
"Lucia," the tenor robusto has in his contract " Rigoletto " as first appear-
ance, the baritone demands "Ernani " and so on, till all the treasures of the
hackne,yed old repertoire have been brought to the surface. Even these old
operas must be rehearsed, and half of the season is wasted on the debuts of
the artists. Then only the thought arises that a novelty should be produced
and for decency's sake a new opera is put on the stage. So it is in New
York and in London, in St. Petersburg and in Paris, and wherever Italian
opera is given out of Italy. If impresarii are really directors, they cannot be
slaves of their artists, nor can they depend upon the caprices of individual
singers. THEIR business is it to make the repertoire, and those who are paid
have to obey, or can decline to accept the engagement offered them. As all
of them want to earn money, they will not refuse very long, and can be
brought to the terms of the impresarii.
THE DIRECT LIE GIVEN.—It will be remembered that Mile. Blanche
Roosevelt, before starting fof Boston, said, in an interview with the Herald
reporter, among other fine things, that the sketches for the dresses and
scenery for the " Masque of Pandora " were made by Alma Tadema. The
following letter explains itself, and gives no proof of the reliability of Miss
Roosevelt's statements:
" TOWNSHEND HOUSE, NORTH GATE, REGENT'S PARK, )
LONDON, N. W., Jan. 3, 1881.
}
" To the Editor of the Herald :
" The enclosed cutting from your esteemed paper (number unknown to
me) mentions, to my great surprise, that I have assisted successfully in
bringing the "Masque of Pandora " before the public. I should indeed
have been delighted in doing so, for is not the play one of Longfellow's?
But as I have not made the sketches for the scenery and the dresses, I must
protest against your editor using my name, and I should feel obliged by
your giving to this protest the necessary publicity.
"Believe me, sir, your obedient servant,
A
TADEMA."
THE OLD TOPIC.—Mr. Lindsay Sloper writes a letter to the London
Sporting and Dramatic News on the subject of " Music in England." In this
article he tells us the old story that music formerly was in a more blooming
condition than now. It must be confessed that if Mr. Sloper had then
lived, music would have had its drawbacks even in former times. We shall
devote the closest attention to Mr. Sloper's series of articles.
CHEEKY.—When " Carmen " was performed in Milan, the conductor
found fault with the overture, and cut the first part out. Of course he had
no right to do so, but conductors are a cheeky set, and will change and cut
out according to their own whims and caprices. How often have we heard,
in New York, the entire overture to the " Favorita," when this opera was
performed?
OH, NO!—The New York correspondent of the London Musical World
informs us that "Mr. Rummel will probably travel for a year or two in
Europe after his marriage, and then settle in New York as a sort of patron
of music in general and pianoforte players in particular." Imagine Franz
Only one question we wish to ask: If our excellent orchestral perform- Rummel patronizing recitals given by Florence Copleston, Anna Bock, and
ers have come from Germany, is it not reasonable to suppose that many more Rafael Joseffy, investing yearly a round sum in tickets for these entertain-
excellent players have remained in the old country, where every town keeps ments, and becoming known as the Maecenas of Fourteenth street! It is
true that after his marriage Rummel will travel in Europe, and it is even
an orchestra of from 30 to 60 musicians?
doubtful whether he will ever return to this country; but should he come
back, everybody may feel assured that he will not remain idle, and will
WHOSE FAULT IS IT ?
patronize his own affairs before he takes any stock in the ventures of rival
r
I ^HE London Figaro, speaking of the Italian opera season, recently closed pianists.
JL in the English capital, complains about the deplorable state of the
THE FOURTH ACT.—We saw in print (otherwise we might have not
repertoire, and says the fault lies with the artists rather than the managers.
This is one side of the question, and an opinion we cannot share. The man- believed it), that in "Lucia," Signor Ravelli's fourth act was not what might
ager is the man who engages the artists and pays them their salaries, and conse- have been expected. Poor fellow ! How can we expect anything from a
quently has the command. The great misfortune is that operatic managers can- singer in an act which never has existed ?
not make up their minds in regard to an attractive repertoire for the whole sea-
BAD OUTLOOK.—Three members of the Strakosch orchestra have
son, and engage their singers accordingly. Impresarii make vague promises returned to New York, but not following their own wishes. It seems that
about some novelties, the names of which even are mentioned, but there is many Messrs. Strakosch and Hess are losing money, and concluded, after the Cin-
a slip between the cup and the lip. They make up their personnel and find cinnati week, to reduce the number of the troupe. One first violin, a viola
that they have not the right people to perform the promised novelties with. Of player, and the tympanist were discharged; the basso, Peakes, and some
course all their plans, if they ever had any, are thrown overboard, and the other artists severed their connection with the company; and we should not
season is conducted at hap-hazard. Our London contemporary says that wonder if, one fine morning, we learned that some more reductions had
every artist engaged wants to make his or her debut in a special role. That become necessary. Strakosch and Hess are a bad team, which cannot work
may be so, but again the manager is to blame. Let it be understood before- well together. Hess wants to do everything on the small scale, and times
hand that no special debuts will be allowed, that every artist, no matter of for this kind of management have passed in America. The most dangerous
what rank, must abide by the laws of the impresa and to tlie benefit of the spot the Strakosch troupe has to touch is New Orleans, where their season
ensemble, and no artist will dare to claim a special debut as a right, sanctioned opens toward the end of this month. The city of New Orleans has had
by custom and tradition. If we want to keep up with modern times, we opera for the last three months, Monsieur de Beauplau catering for them
must break with customs and traditions. Let all managers of Italian with a comparatively strong company.