80
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
April 5th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
INCIDENT IN THE LIFE OF BERLIOZ.
the exercise of their profession) as musical critics of our daily and other
Lesueur now "wished Berlioz to enter his harmony class at the Conserva- papers, and the critics of Germany are even a still abler body of men.
toire, but did not think it necessary to introduce him just then to Chenibini, This branch of the subject seems to have been overlooked, but it is one
the formidable head of that institution. As a matter of fact, Berlioz and the which is well worth consideration and discussion. — The Figaro, London.
Florentine had met before under circumstances which the younger man
feared his elder would remember. The meeting came about in this way.
Responsible for the good order of the Conservatoire, Cherubini had pro-
vided separate entrances for the male and female students, of which arrange-
A NEW FREAK.—Dr. Hans Von Biilow is incorrigible. He wants to be
ment Berlioz being ignorant, he, one day, going to the public library,
passed in at the door set apart for ladies. A servant tried to stop him, but original a taut prix, even at the risk, of being laughed at. The learned
in vain, Berlioz pushed on, and had soon forgotten the incident in the work Doctor was appointed about a year ago conductor of the orchestra at Mein-
of reading a score of Gliick. A few minutes later Cherubini entered with ingen. He now wants to bring the band to the point of performing all
the servant, who, pointing out Berlioz, said, " There he is." " Cherubini grand orchestral works without music. Imagine it, a kettle drum player
was so angry that he could scarcely articulate. ' Ah, ah, ah, ah! it is you,' must remember 117 bars rest, and then suddenly come in with a single G..
he said at last, with an Italian accent which rage made more droll; 'it is Mr. Von Biilow will evidently do his best, to be kicked out of Meiningen as.
you who enter by the forbidden door!' ' Monsieur, I did not know your he was of Berlin, Munich and Hanover.
rule; another time I will conform to it.' 'Another time! what brings you
IN THE MINORITY.—According to an Italian paper, 40,000 operas have
here?' 'You see, Monsieur, I come to study the scores of Gliick.' ' How do been written since 1600. How many are alive now ?
the scores of Gliick concern you? Who gave you leave to come to the
HE IS RIGHT.—A subscriber to the Series of Concerts, given by the
library?' ' Monsieur (I began to lose my coolness), I consider Gliick's
scores the most beautiful in dramatic music, and I want nobody's leave to Symphony Society this season, declared himself dissatisfied with the Pro-
study here. From ten to three the library is open to the public, and I have grammes of this winter, and thinks that the May Festival interfered seriously
a right to profit by the fact.' 'The right!' 'Yes, Monsieur.' ' I forbid with the concerts of the society, especially when compared with former
you to come again.' ' I shall come, all the same.' ' What do you call your- seasons. The subscriber paid his money for the concerts of the Symphony
self ?' cried he, trembling with rage. Pale in my turn, I answered, Society, and not for the May Festival. We do not know whether this gen-
' Monsieur, you will perhaps know my name some day, but to-day—you tleman's view is to be shared by others, and, according to our opinion, there is
shall not learn it.' ' Stop him, Hottin (Hottin was the servant), I will put room for complaint. The concerts had to suffer, for the full strength of the
him in prison.' Both master and man, to the stupefaction of the lookers-on, repertoire is reserved for the festival.
then chased me round the table, upsetting forms and desks, without power
GALASSI.—Signor Galassi, the excellent baritone of Mr. Maple-
to catch me, and I escaped, saying, with a peal of laughter, 'You shall have son's ANTONIO
troupe, does not seem satisfied with his position, and says, that he will
neither me nor my name, and I shall come back soon, again to study the not renew
his engagement with the Colonel under any circumstances. We
scores of Gliick.' " In prospect of entering the Conservatoire, Berlioz was a
little anxious about the retentiveness of Cherubini's memory. Curiously accept this decision cum grano salts. Signor Galassi may easily change his
enough, Hottin afterwards became Berlioz' orchestral attendant, and the opinion, especially, when he finds out, upon careful calculation, that with Mr.
Mapleson he draws salary about nine months a year, and we do not know of
most furious partisan of his music. —Musical Times, London.
any other impresario who could offer him equal advantages. We shall not
be astonished to see Signor Galassi again next season among the members
" L E S COWTES D'HOFFMANN. "
of H. M. Opera Company.
The curtain rises on the interior of a German Bier-Keller, kept by
London Sporting and Dramatic News informs us
Master Luther. Hoffmann (we all know Hoffmann) is discovered with a party EXAGGERATION.—The
Mr. Frederick Archer was pronounced by some of the leading journals
of Students, to whom he narrates various episodes in his life, illustrating the that
of New York, the greatest organist ever heard in the United States. We
familiar maxim, " the course of true love never did run smooth." By a device have
seen the leading journal, which spoke in such enthusiastic terms
not new to those who have seen " Victorine, A Dream of the Future," etc., about never
Archer, who is, undoubtedly, a very talented man, but by no
the story is represented bodily before the public. We first see Hoffmann means Mr.
the greatest ever heard here. Do not let us forget Henry Carter,
smitten with Olympia, who has captivated him while sitting at her window. Whiting,
and some others, who are earnest workers and excellent organists.
But Olympia is not of flesh and blood, though her waltzing excels that of
AMOR.—The subscription list for the benefit of Mr. Frank Amor, has
even the majority of her fair-haired countrywomen, and she sings like a
veritable prima donna. She is, in fact, no more than an automaton, created been withdrawn from the columns of the London Musical World. Two things
by Coppelius and Spallanzani. Owing to an accident the main-spring of the are possible, either the sum of £150 has been raised, and Mr. Amor can be
fascinating doll is broken, and, instead of a beauteous girl, the poet beholds daily expected on American shores, or the amount could not be brought to-
strewn about a confused heap of mechanical contrivances. Recovered from gether, and Mr. Amor will be obliged to countenance starvation a little while
this shock, Hoffmann turns his attention to Antonia, who, like her dead longer in England. In the iatter case, Mr. Amor may say much ado about
mother, is a great beauty and a famous vocalist. She suffers, however, from nothing.
heart disease, and each time she sings, "drives a nail into her coffin." Hoff-
JOSEFFY—ARBUCKLE.—The fight between Rafael Joseffy and Mr. Ar-
mann, who adores her, entreats her to sing no more. But all his prayers buckle is ventilated in English contemporaries. It will be remembered,
and adjurations are nullified by the influence of a certain Dr. Miracle, mys- that Mr. Josefly refused to play at a concert where the cornet player, Ar-
teriously related to other characters in the piece. The doom which Hoff- buckle, was advertised, whereupon the latter denounced the pianist publicly
mann fears overtakes the gifted syren, who dies with a song upon her lips. as a puppy. An English paper remarks : " If Mr. Arbuckle jintends this as
The third object of his love is another beauty, called Giulietta. His adven- a term of reproach, he effectually absolves himself from the designation of a
tures with her are not represented on the stage, for we are carried back to gentleman. If, on the other hand, he means it in its literal sense, he intends
the beer-cellar of the first act, and the hero merely informs us that his Mr. Joseffy to be considered an animal, respected by men, and beloved and
passion for Giulietta has come to a terrible end. " Why open afresh old fostered by our best and tenderest women." Mr. Arbuckle may thank his
sorrows!" he exclaims—though unable to shake off the remembrance of over zealous friends of the New York Press, for having published his letter,
them. Crushed in spirit, he is tired of the world. "Nothing is left me," evidently
written under the influence of momentary anger. Ho Avill have to
he says in despair. "You forget your genius!" the Muse replies, and the confess that
we did him the greatest service, by throwing it into our waste-
curtain falls. Such is a hasty outline of the strange book, the last Offenbach basket.
ever set to music. He wanted to show himself capable of higher things
VACILLATING.—Last spring Mr. Strakosch gave up all ideas of ever again
than mere buffo opera, and expended an amount of time and care on the
work he had never bestowed on any of its precursors. " Those least favor- controling Italian opera. His opinion was, that Italian opera had no
ably inclined toward him," says the Me'nestral, "must in justice own that he future in the United States, and he resolved to devote his energy and
has not failed. While there is a great deal of the music in Offenbach's hap- strength exclusively to English opera. After one season's experience he
piest buffo style, much of it reaches a higher standard." This is especially changed his opinion, and thinks, that only Italian opera is the right thing.
Mr. Max Strakosch seems to be at his wit's end. He is unfortunate in all
true of the trio for Hoffmann, Doctor Miracle, and Counsellor Crespel (Act III.),
Antonio's song, and the duet between Antonia and. Hoffmann. Another num- his musical ventures, for the simple reason, that his ventures are not consid-
ber entitled to praise is the barcarolle "O, belle Nuit," in its way a gem. ered musical by the public. If Mr. Strakosch had devoted his energy and
The cast was strong. Mile. Isaac, as the Automaton and as Antonia, strength to English opera, he could have made a brilliant opera season, but
exceeded all her previous efforts as a vocalist, while her acting surpassed we are afraid that his energy and strength have left him, and opera, in what-
expectation. Never before did she prove herself so consummate an artist. ever language, cannot grow under his care. ' To run opera successfully in
the United States takes a man with an iron will and a thorough under-
Talazac, in the part of Hoffmann, and Taskin as Counsellor Lindorff, Coppe-
lius, and Doctor Miracle, are admirable. Mention, too, should be made of standing of the demands of the public. The great secret of Colonel Maple-
Mile. Ugalde, as Niklaus, a student; and, indeed, all the other artists, son is, to save appearances, to give a large orchestra, a strong chorus, fine
including Mile. Depuis, Cheneviere, Gourdon, Troy, and Grivot, lend valu- scenery, stage band, clean and rich dresses, and he does all in his power to
able aid to the ensemble. The band and chorus were no less zealous than the make his " show " look decent. If he does not satisfy the ear, he at least
principal singers, contributing in no small degree to the success of the new does not offend the eye, and this correct idea of an opera manager estab-
opera. The scenery is picturesque and so are the costumes, the latter lished his success in America. People are tired of Mr. Strakosch's slipshod
designed by Th. Thomas, an authority in such matters. There can be little ways, and if this gentleman really intends to bring an Italian opera com-
doubt that " Les Contes d'Hoffmann " will prove a trump card for Carvalho. pany to this country next season, let him take care that his departments are
under firm and energetic control. Mr. Strakosch loved to have a set of pen-
He deserves it.—Musical World, London. Paris Correspondence.
sioners around him who flattered him and ruined his prospects for years.
He may have learned by this time that different arrangements have become
TBUE, KVERY WORD OF IT.
necessary for permanent success, and as mankind is never too old to learn,
But reference rtmst be made to one point in which America is handi- we do not see why Mr. Strakosch should not profit by experiences. We
capped as against Europe. Before a nation becomes musical—that is to have very little confidence in Mr. Strakosch's future musical enterprises; but
say, before the love of and appreciation for music can largely increase—a the fault is not ours. We are only too willing to give Mr. Strakosch credit,
strong press is imperatively necessary. Mr. Thomas knows, and every cul- as soon as he will change his tactics, and give up slovenly management.
tured American knows, that, with two or three brilliant and honorable
ONLY TOO NATURAL.—Jarrett says that Christine Nilsson's voice never
exceptions, the talent of the musical critics of America is confined to the
weekly and periodical papers. Some of the so-called musical criticisms was better; but we must not forget that Jarrett is Mme. Nilsson's agent, and
printed in the New York dailies are a discredit to the country, not only every smart business man would follow the same principles. Whatever
showing no journalistic talent, but betraying an utter ignorance of the people may think of Henry Jarrett (and they think a great deal not of, but
elementary principles of the musical art. How can America hope to take about him), nobody will deny his smartness.
its place among the musical nations of the world when its very critics—those
THE VALUE OF REAL ESTATE.—Real estate owners in Newport are afraid
who should be at once its mentors, its guides, and its leaders to higher that property at that place will fall from the effects of the performance by
works—are incompetent ? Here in England we have a strong body of the Emma Abbott Troupe at the Newport Opera House on Wednesday,
capable musicians (who are sufficiently well paid to induce them to abandon March 23d.
INDIVIDUALITIES.