Classic Mode

Music Trade Review

Issue: 1881 Vol. 4 N. 3

Page 3 Text:

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
With which is incorporated THE MUSIC TRADE JOURNAL.
VOL. IY.
HONESTY.
T is a strange fact that so few people can be honest, but prefer to
live under the protecting shelter of hypocrisy. We do not have in
view the kind of dishonesty which leads to the court room and eventually to
the penitentiary, we speak of social dishonesty as the result of hypocrisy.
This hypocrisy may be only apparent and in reality only false shame,
though the difference in the effect is so hard to detect that it may fairly be
classed with hypocrisy. A young man from the country is invited to din-
ner; he has never been in the city before, and these swell dinners prepared
by a French cook with all the various ragouts and sauces which would do
credit to a Vatel, are entirely unknown to him. He sees things on the table
which his boldest fancy never had conceived of, but he feels ashamed to con-
fess his ignorance. He eats heartily of all the delicacies which are danger-
ous to a stomach not used to them, and the next morning finds himself in
bed with a head-ache and a cold perspiration. It is well known that once
such a young country cousin took the fingerbowl, which the waiter put
before him at the end of the dinner, and drank the contents down to the last
drop, not supposing that it was intended to supply the place of a wash-
basin at the close of the repast.
Hypocrisy shows itself everywhere in picture galleries, in churches, in
theatres and in concert halls. At the last Philharmonic Concert we saw with
our own eyes how 2,000 people were bored, when Bach's Cantata, " A Strong-
hold Sure " was being performed. Bored is the right word, and there is no
exaggeration in its use. But, of course, of these 2,000 people not 100 would
be honest enough to confess that they were bored. Johann Sebastian Bach!
A noble name! It was the duty of the listener to be delighted, and as every
one who did not gush would have been considered unmusical, it was a duty
to express delight and satisfaction at the end of the concert, while in their
innermost souls the listeners were only too glad that the affair was over.
Conventionalties breed hyjjocrisy, and otherwise honest people become
hypocrites by moving in certain circles of society. There are circles in New
York which consider it one of the most outrageous crimes not to be musical.
Members of these circles believe that an individual is musical who is capable
of listening every week to three Symphony Concerts, two Oratorio perform-
ances, five Chamber music Concerts, and six Piano Recitals; and then, still
unsatisfied, longs for more. This hyper-classical clique cannot understand
how anyone can thoroughly enjoy on Monday night a symphony, and listen
with pleasure to a set of valses, well played, on Saturday night.
This clique, of course, just at present, delights in Bach, and if we repeat
that they all felt bored by the cantata recently produced, we give as the
principal reason for the assertion that not a single musician belongs to the
clique, which is wholly composed of high-toned amateurs, who have not the
faintest conception of Johann Sebastian Bach's works. Somebody may say
that such people as belong to such a clique know just as little of Liszt or
Berlioz; true, but we must not forget that the modern composers are more
interesting to these people, because kaleidoscopic instrumentation and har-
monic transgressions will more easily catch the listener's favor than mere
beauty of form and rules of counterpoint. Modern tone-poets are more fas-
cinating, and the listener is easily charmed, even if he cannot follow the
composer's ideas. This is sufficient, and nobody can expect more.
If a banker, or a lawyer, or a physician is fond of music, and listens to
a symphonic work which delights him, we have no right to expect analytical
explanations. He need not tell us why and wherefore it pleases him; he is
not a professional musician and never pretended to be one; he is fond of
music, and listens attentively to every composition that interests him.
Modern works throw their charms over the intelligent listener, not only
through their intrinsic value, but also because of their conceptional powers,
especially now-a-days, when intellectual gifts are mistaken for musical ge-
nius. Johann Sebastian Bach was the first true and great representative of
the Protestant Church music. At a time when everything basked in the
glory of the fantastic music of the Catholic Church, the cantor of the
Thomas Church at Leipsic, arose with his doctrines and declared war against
the musical paraphernalia of the Roman Catholic Services. We must not
forget that the German Protestant service is the plainest that can be imag-
ined—-we may even say, that it is far too plain for the lower class, as it does
not help to stimulate their religious zeal, and it is based on strictly expressed
doctrines, without any elasticity or latitude. Johann Sebastian Bach was so
impressed with the doctrines of the German Protestant faith, that he made
them the basis of his musical works. We cannot deny that, although there
is in the works of Bach, to the unaccustomed ear, something harsh and cold,
on the other hand there is a wealth of deep and noble musical thoughts,
gigantic expression, and an unrivalled beauty of form. To understand Bach
it is necessary to become acquainted with his style early in life. And look-
ing at the audience at the last Philharmonic Concert, we saw the necessity
for a change; we saw that something must be done, as our musical affairs
were in danger of going astray.
Last winter when the Passion music was performed here, failure could
not be averted, because of the lack of understanding on the part of both
singers and audience. The Cantata recently performed was less heavy than
the Passion music, accordingly the result was less disastrous; but the fact
that Bach is considered a bore, is to be regretted ; to-day we do not want
Bach, to-morrow we may give up Haydn, and a week later we will not care
for Mozart. How far will it go? Mr. Mapleson has presented "Don
Giovanni" with his company this winter, but except in Boston, the receipts
for the performances of Mozart's opera were depressingly small. What is to
I
No. 3
N E W YORK, MARCH 5TH, 1881.
be done to keep the appreciation of the classic composers alive? The musi-
cal education of our children must be regulated according to sound princi-
ples. Let us work slowly and the result will be encouraging. Why is
nothing done in our public schools toward this end? They teach singing,
but nothing but trashy songs are on the tapis. Let the children sing
chorales, and study them seriously.
There is the Normal College, frequented yearly by several hundred
young ladies. They have a singing teacher, and sing at the Commence-
ments. But what do they sing? Insignificant compositions of a flimsy
character without musical value. We have many English and German
Choral Societies; but they appear to think more of social pleasures than of
musical improvement. We have material enough in this country to do all
we desire to do, and it is high time to throw over all fanciful ideas of glory
and reputation. We are a young nation, and it is useless to claim the first
musical prize from older countries without a thorough educational system.
If really we desire a change, let us set aside hypocrisy—let us be honest!
If to-day we desire to deceive our neighbors by a well-feigned enthusiasm
concerning something we do not and connot understand, we also deceive
ourselves and hurt the coming generation. Only a frank and honest con-
fession of our ignorance can bring a remedy, because we then can begin to
learn our needs. We must banish the halo of classicism, if we are not really
impressed by it; we must confess our weakness, and then, and only then we
may expect a change for the better. Our musical amateurs must learn the
necessity for this frankness and honesty, for after all, in this great Republic,
true musical salvation lies in dilettantism, which pays so that the profes-
sional man can reap.
Either Bach should be declared completely out of fashion; or, let us
say, out of reach, and has no business on concert programmes; or, the con-
cert public must be taught to understand his works. The present genera-
tion in New York will hardly learn to appreciate Bach, but the younger folks
should be made acquained with the works and style, and that can only be
done in the manner mentioned above.
INJUDICIOUS.
HEN Mr. Mapleson closed his season in Chicago some weeks ago, the
papers of that city were loud in denouncing him and his manage-
ment for various offences he had committed. Now, we know that Col.
Mapleson is not a saint, and that his actions are generally open to criticism,
but it seems to us that some of the Chicago papers went too far, and acted
injudiciously in meddling with things entirely beyond their sphere, and we
think that they trespassed on the limits of the critical domain. For
instance, one of the complaints reads that Campanini has been cast on the
off-nights. How is it that a man who claims to have common sense can
produce such nonsense? Mr. Mapleson casts his operas according to his
calculations in regard to the treasury-box. He puts Sign or Campanini
where he thinks he can do him the most good and draw the biggest house.
What are off-nights? They only exist in the imagination of that class of
people who want to have stars or artists who feel slighted because the public
does not appreciate their talents sufficiently. The manager does not want
to have any off-nights, for he expects big houses seven times a Aveek, and the
critic surely has no right to make a difference between regular nights and
off-nights, for he wants to see good performances whenever he is invited to
attend. Mme. Gerster, who is considered the star of Col. Mapleson's
troupe, probably sang in Chicago on the regular nights; to make his other
performances attractive, Signor Campanini was put in front, and if he did not
draw according to expectations, it is surely not the manager's fault. Campa-
nini, excellent artist as he is, never was a special attraction in regard to dollars
and cents, but very likely his manager thought that his powers were stronger
than they really are, and cast him accordingly. Why should Campanini
sing with Gerster on Monday night, when Gerster's name alone was suf-
ficient to crowd the house? Mme. Gerster's repertoire is not an ambitious
one, and any tenor with good voice and fair schooling will do in her operas.
Consequently Ravelli sang with her, and to give Signor Campanini a show
he was cast for Tuesday night. If people wish to consider such perform-
ance an off-night, nobody can prevent them from doing so, but it is utterly
injudicious and unjust. Another complaint against Mr. Mapleson is that he
pushes forward those of his artists who have still a reputation to make, and
ignores others who can command success by the power of their names.
Does not every business man act in the same manner? We should consider
Mr. Mapleson an extremely bad manager if he acted differently. He
engages his artists, good, indifferent or bad, and the moment he signs a con-
tract with them he is in duty and self defense bound to make the best of
them. Artists of high rank do not need his protection; only the Dii and
Deae minorum gentium look to him for the sheltering power of an operatic
manager who has some influence with newspapers. That he does not always
succeed is another question; his duty is to try his best, and he tried so hard
in Boston that they began to consider Mme. Swift an excellent singer. We
cannot understand how Mr. Mapleson could engage a woman of Mme.
Swift's inferior artistic abilities, but this once agreed upon, we should con-
sider it equally funny if he should go round and proclaim her a bad singer
everywhere. Gerster, Valleria, Cary, Galassi, Campanini, and a few others
can get along without Mapleson's help. The manager knows this, and con-
sequently has instructed the army of his sub-managers and agents to work
the weaker part of the troupe in newspapers. If newspapers agree to
that system, why should the manager not make use of it? Of course, then
the great artists of the company begin to grumble, for they are all of a
W

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42
THE MUSICAL CRITIC AND TRADE REVIEW.
jealous disposition, and they are too stupid to recognize the whole manoeuvre
as a managerial trick, based on old, traditional business principles. They
feel neglected, they immediately consider their reputation and prospects at
stake, and do not refrain from denouncing their own manager to reporters,
whom they meet either occasionally or intentionally. Then they bemoan
and bewail their fate, and the reporter really thinks that they are the most
injured mortals he ever saw in his life. The artists of fame are injudicious,
because they forget the beginning of their own career, when they were
unknown to the world, and could not rely either on reputation or talent.
Then their manager did to them what Mr. Mapleson does to the members of
his company. That he cannot succeed in making a lasting reputation,
except for those who really have talent, is the artists' fault, or the under-
standing of the public has gone beyond any managerial tricks. Anyhow,
it is worth trying, and the gallant Colonel follows common business
principles in protecting those who need this protection the most. Even the
foremost newspapers in Chicago are severe on Mapleson, and call his reper-
toire a shabby one. In a season of two weeks he gave them old, light operas
of the Italian school, with the exception of "Lohengrin," "Mefistofele,"
and "Don Giovanni." What shall we say in New York? Our fall season
lasted ten weeks, and we had neither "Don Giovanni," nor "Lohengrin."
Are they not really injudicious in Chicago to make so many complaints?
March 5th, 1881.
MUSICAL NOTES.
AT HOME.
The Comley-Barton Company began a season of "Olivette " perform-
ances on Monday, Feb. 28th, at the Brooklyn Academy of Music.
A concert was given at St. Stephen's Church, in East Twenty-eight street,
on Sunday, Feb. 20th, which was of great interest. In addition to the usual
choir, a number of solo singers took part. Rossini's Stabat Mater was the
principal work performed.
The organ of the St. Vincent Ferrar Church, which is to be removed to
the Seventh Regiment Armory for the May Musical Festival, was exhibited
by Mr. Bonn at a recital on Tuesday evening, Feb. 22.
A new concert hall was inaugurated on Sunday, Feb. 20th, at Eighth
avenue and Fifty-fourth street. The name of the new place is the Manhattan
Concert Hall.
Mr. S. Liebling has been the soloist at the Gilmore concerts at Koster
& Bial's place.
Manager Neuendorff is preparing a German version of Audran's " Oli-
vette " for the Germania Theatre.
THE NEW YORK MUSIC FESTIVAL.
The combined rehearsals of the six sections of the May Festival Chorus
r
I ^HE names of the soloists engaged and the programmes of the Music take place every two weeks, and regular practice by the several sections is
_L Festival to be given in the Seventh Eegiment Armory during the first kept up during the intervals. The work in active rehearsal at present is
week of next May were made known by the Festival Committee. The prin- Berlioz's "Requiem."
cipal singers will be Mme. Gerster and Mrs. Imogene Brown, sopranos;
Mr. Franz Rummel is to perform the " Saint-Saens Concerto," No. 2, at
Miss Annie Louise Cary and Miss Emily "Winant, contraltos; Sign or Campa-
nini and Mr. Theodore J. Toedt, tenors; Herr Georg Henschel, Messrs. M. the concert of March 5th of the Symphony Society, while Mr. Rafael
W. Whitney, Franz Eemmertz, It. S. Stoddard and Adolph Sohst, basses. Joseffy will play the "Schumann Concerto" for the first time at the next
Dr. Damrosch will be the musical director and conductor. The programmes concert of the Philharmonic Society.
are appended. The sale of tickets is to commence on the 21st of March.
The opera festival of the Cincinnati College of Music closed on Satur-
Subscription tickets for all seven performances, admitting one with a day night, Feb. 26th, with the seventh performance. The total attendance
reserved seat, are to be $10. Single admission, $1; with reserved seats for at the seven performances was 33,000. The total receipts were $60,000.
the evening $1 extra, and for the aftei'noon 50 cents extra. A large number
Her Majesty's opera company will give one week of opera at the Boston
of private boxes are to be disposed of for an extra charge, according to the
Theatre, commencing April llth.
seating capacity, and holding from three to six persons.
First concert—Tuesday evening, May 3.—" Dettingen TeDeum," for
Miss Cary closes her season with Mapleson April 8. The 15th she will
solos, quartette, chorus, orchestra and organ, Handel; "The Tower of sing in the Passion Musio in Boston; the 20th at Mr. Peck's benefit; 22d and
Babel," sacred opera, for solos, chorus, orchestra and organ, A. Bubenstein. 23d for the Philharmonic society in Brooklyn. She will also appear at the
Second concert—Wednesday evening, May 4.—"Festival Overture," for New York and Chicago festivals.
orchestra and organ, L. Damrosch; " Grand Requiem," for tenor solo, cho-
Mendelssohn's unfinished oratorio, " Christus," and Mann's " Magnifi-
rus, grand orchestra, and four additional orchestras, H. Berlioz; "Kaiser-
cat" and " Nunc Dimittis" were performed at a special musical service on
march," for orchestra and chorus, R. Wagner.
Third concert—Friday evening, May 6.—" The Messiah," for solos, cho- the evening of Feb. 27th in St. John's Chapel, Varick street.
rus, orchestra and organ, Handel.
Mr. G. Clayette, first cornet of the French Opera Company's orchestra,
Fourth concert—Saturday evening, May 7.—Overture"and'Selections, for is certainly a gentleman whose good fortune many persons will envy. He
solos, chorus and orchestra, from '' Die Meistersinger von Nuernberg, R. bought a half ticket in the Louisiana State Lottery, which drew a prize of
Wagner; "Ninth Symphony," for solos, quartette, chorus and orchestra, $30,000; his share is $15,000.
Beethoven.
A performance of "Pinafore " was given on Thursday, Feb. 24, by ama-
First Afternoon Concert—Wednesday, May 4.—Overture, "Olympia," teurs in Cumberland, Md., for the benefit of the poor of that town. The
Spontini; Duo, for soprano and contralto, from " Guilio Csesare," Handel; Academy of Music was crowded, and the principal performers were heartily
(a) "Sigismund's Love Song," tenor solo, (b) "Ride of the Walkyries," applauded. The cast was as follows: Sir Joseph Porter, Mr. Zack Laney;
orchestra, from "Die Walkuere," R. Wagner; Solo for contralto, "La Cap- Capt. Corcoran, Mr. Ernest Shriver; Ralph Rackslraw, Mr. J. L. Thomas;
tive," II. Berlioz; "Symphony " in C minor, No. 5, Beethoven.
Dick Deadeye, Mr. Wm. L. Morgan; Dill Bobstay, Mr. F. G. Wilhelmi; Tom
SECOND AFTERNOON CONCERT—THURSDAY MAY 5.—Prelude, for organ Bowlin, Mr. S. W. Schofield; Bob Beckel, Mr. J. J. Derr; Tom Tucker, Mas-
solo; Overture, " Euryanthe," C. M. von Weber; Solo for contralto, Gluck; ter Stanley Everstine; Marine, Mr. W. E.Turner; Josephine, Miss Mamie
" Folksong," from " Norse Suite," Op. 22, A. Hamerick; Scherzo, for orches- McSherry; Hebe, Miss Belle Hetzel; Little Buttercup, Miss Sarah Thomas.
tra, solo for soprano, F. L. Ritter; Overture, " Midsummer Night's Dream," The orchestra was under the able management of Prof. M. L. Wiesel.
Mendelssohn; Septet, for three tenors and four bases, from Tannhauser,"
The Mozart Club, of New London, Conn., gave their fourth concert this
R.Wagner; "Rokoczy March," H. Berlioz.
Third Afternoon Concert—Saturday May 7.—Toccata, in F, for orchestra season at Allyn Hall, New London, on Wednesday evening, Feb. 23, 1881,
and organ, J. S. Bach; " Alia Trinita," hymn of fifteenth century, for female assisted by Mr. Hermann Brandt, of New York, and the English Glee Club.
voices, sung without accompaniment by 1,000 young ladies and 250 boys; The programme was as follows: W. A. Mozart, trio for piano, violin and
Chorus, from " Paradise and Peri," sung by 1,200 young ladies and 250 boys, violoncello, Messrs, Chappell, Brandt and Washburn. John Stafford Smith,
with orchestral accompaniment, R. Schumann; Scene from "Romeo and Glee, English Glee Club. H. Vieuxtemps, Ballade and Polonaise de Con-
Juliet," for violoncello obligato and grand orchestra, O. B. Boise; Duo, for cert, for violin solo, Mr. H. Brandt. Sigismund Thalberg, Grand Fanfe isie
soprano and contralto, solo for tenor and solo quartet, from the "Requiem," on themes from "La Sonnambula" for piano solo, Mr. C. S. Elliot, a. R.
Verdi; Chorus, "The Messengers of Peace," from " Rienzi," for soprano solo, Spofforth, Glee, b. R. F. S. Stevens, Glee, English Glee Club. Franz Schu-
tenor solo, orchestra and chorus of 1,200 young ladies and 250 boys, R. bert, "La Serenade," arranged for violoncello solo, Mr. C. F. Washburn.
Wagner; " Les Preludes," symphonic poem, F. Liszt.
a. L. Van Beethoven, Romanze, b. Henri Wieniawski, Legende for violin
solo, Mr. H. Brandt. F. Mendelssolm-Bartholdy, Overture to Shakespeare's
SMABT MINNIE !—English exchanges report that Miss Minnie Hauk ha3 " Midsummer Night's Dream," arranged for piano, 4 hands, violin and vio-
several engagements in England, and has not yet decided whether to return loncello, Mozart Club.
to America next May or not. The real meaning of this is that Miss Hauk
The place of Henry Eyre Browne, the regular organist of Plymouth
tried her best to get an offer for the Music Festival in May, but it seems Church, was filled Sunday, Feb, 27, by Frederic Archer, who recently came
that the committee has not sent a final answer yet, consequently she lias not to this country from England.' After the morning service a meeting of the
yet decided. That she offered her services, through friends in this city, is Music Committee of the ehurch was held, and Mr. Beecher stated that he
beyond doubt, although we are sure to see our statement denied. In such wished to secure the services of Mr. Archer for the ensuing year to succeed
case we shall publish names, to set all doubts at rest.
Mr. Browne, who has played in Plymouth Church since John Zundol was
BRAVE ANNIE LOUISE !—Miss Cary is a good-hearted, fearless girl; she is made organist emeritus, about four years ago. It was with surprise that
one of those few members of the Italian Opera Troupe who dont care a snap Mr. Beecher's views were received in the Music Committee, and H. B. Claff-
for the troupe, the manager, or Her Majesty. Miss Cary, if she has some- lin, John B. Hutchinson and others of the committee opposed the change.
thing to say, speaks her mind, and cannot be easily frightened off by menac- After considerable discussion, however, Mr. Beecher's views prevailed and
ing gestures. She knows that Mapleson needs her, consequently she can be Mr. Archer was elected organist. His engagement will begin May 1. It
independent. It will be remembered that a lawyer in St. Louis a few weeks is reported that Mr. Browne refused an engagement in one of the Methodist
. ago sued Col. Mapleson for refusing to sell him certain seats in the theatre churches in Brooklyn only two weeks ago. Miss Hattie L. Simms, the lead-
on the morning of the opening of the sale. Several of the artists were sub- ing soprano of the choir in Plymouth Church, has refused to renew her en-
pcened as witnesses, among whom Annie Louise Cary. This lady at once gagement to sing there.
spoke about the tricks of the trade, about the bad custom of managers in not
The directors of the Metropolitan Opera Housa Company held a meet-
handing over a clean diagram to the public, and in spite of Mr. Charles ing on the morning of Feb. 28, to consider the various sites for the new
Mapleson's frowning at her, she continued to unburden her mind in frank Opera House, According to one of the persons present no site was selected.
and unmistakable terms. Finally she told Mapleson: " Better tell the truth With regard to the stock which, from $600,000 had been increased to
and be done with it." As if Mapleson ever had dealt in that article! But $1,500,000, it was said that the subscriptions had been completed and the
Cary came out bravely, and did honor to her country. The New England entire amount had been paid in.
girl comes from a stock which was not afraid of Col. Mapleson's ancestors a
The first rehearsal for the fifth concert of the Brooklyn Philharmonic
hundred years ago. This fearlessness has remained in the veins of the family.
Society was announced to take place on Friday afternoon, March 4. Mr.
Mr. Schreiner will be the conductor of the band at Long Beach next Henschel was to sing twice. The orchestral works, under the direction of
summer, with the cornetist Hoch; Mr. Gilmore will conduct the music again Mr. Theodore Thomas, were to be Haydn's symphony in B flat No. 8, Schu-
at Manhattan Beach, with Mr. Emerson as cornetist, Mr. Levy going to bert's unfinished symphony in E minor, and selections from Schumann and
Brighton Beach.
Berlioz,

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