Classic Mode

Music Trade Review

Issue: 1881 Vol. 4 N. 9

134
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THE MUSICAL CRITIC AND TRADE REVIEW.
Junej;th, 1881.
The treatment of paralysis of the vocal cords consists essentially in the to have all the pieces which have been given to a pupil, from the very
application of electricity not outside the neck, as is generally done by non- simplest, numbered in the order in which they have been taken, and to make
laryngoscopists but internally, by means of a curved instrument. When this bhe pupil work them through again seriatim, one by one together with the
form of medication is thus applied directly to the diseased structures the practice of the piece just in process of learning. When we have arrived at
results are exceedingly gratifying, cases often completly recovering and the the end of the repertoire, then commence again in this way. In returning
to the old work, progress will be tested, and we shall be better able to give
voice being thoroughly restored in a short time.
Tumors, or as they are technically termed polyps, are quite frequently each work its polishing touches. Even in the most elementary work it will
found attached to the vocal cords. The existence of one of these masses in be found there are many points which we may make the experience gained
the larynx, would preclude the possibility of singing on account of the inter- since it was first attempted to bear upon and elucidate, though the pupil
ference "which it would cause to the proper mechanical action of the cords. may have fancied at the time he had fully exhausted the interest therein.
The finding of one of these tumors in the voice-box has often solved the But with some pupils there is a difficulty in getting them to make this con-
mystery of a loss of voice of several years standing. An exceedingly in- tinual round of their repertoire; they grow tired, after a little time, of their
teresting case of the above nature presented itself to my clinic of the Metro- former pieces. But, if the teacher does not make any release in his demands
politan Throat Hospital several years ago. The case was that of a gentleman for a fresh study of an old piece to be made for him at every lesson, the prac-
aged about 40, who had suffered from impairments of the voice for many tice will grow into a.habit, the disinclination to the play ing-over of the " old
years. Upon making a laryngoscopic examination the appearance of the tunes," simply as such, will disappear; the pupil will begin to appreciate
his teacher's motive in making this requirement of him, and he will at last
parts were identical with the picture displayed below.
to take a peculiar pleasure in thus traversing the old ground; while it
As is shown in the drawing the tumor was attached get
promote an artistic delight in refining and polishing off (not altogether
to the left vocal cord the rest of the mass being will
to be induced with respect to work upon the mechanical part of which he is
freely movable in the air tube. I removed the yet
he will be able the better to estimate the advance he is mak-
above tumor easily and speedily by introducing an ing; engaged);
and,
moreover,
will be led to play generally with greater ease and
instrument into the larynx by the invaluable aid of confidence than if he he
is doing nothing but struggle with pieces yet beyond
the laryngoscope, by which means the morbid his strength.
mass was twisted off from the cord.
When the teacher happens to have two or more pupils in the same
A most prevalent affection among singers is
catarrh of the head. When this disagreeable family, he should not fail to make duet-playing enter largely into the ordi-
Fig. 17.—A Laryngcai Polyp. ^ j s e a s e j s present in a marked degree it seriously nary scheme of study. Nothing is better calculated to bring a pupil into
affects the voice of the sufferer, more especially the upper tones, as these the way of strict time-keeping, and to make him attentive to minor details,
are produced through the direct agency of the nasal passages. There are than to accustom him to play in concert with others. To play your part so
two causes for this effect. First by a swelling of the passages of the nose and as to make it sound at all well with that of your partner's, you are bound, at
second by a stoppage of them by the accumulation of the discharge which is any rate, to play steadily. I think it best for the teacher not to hear the two
so characteristic of this disease. Both these causes act in the same way i. e., players together till the work has been sudied with either separately. Be-
they prevent the tone-waves which are created in the larynx from traveling sides, this would be found a troublesome method for the teacher himself, as
through their proper channel. For the treatment of nasal catarrh great suc- the recalls would necessarily be so many; and, in attending to the one
cess has been attained. This is entirely due to the laryngoscope, or, as the player, he would perhaps fail to remark the faulty execution of the other.
instrument is called when examining the nose, the rhinoscope, as with this Then, when the one persists with his part after the other has been checked,
apparatus the interior of the nasal organs can be thoroughly explored. This nothing is more likely to make a sensitive teacher for the time an irritable
disease, which has hitherto been placed among the category of incurable one. In their own time, also, it should be seen that pupils prepare well
affections, may now be considered curable. As with laryngeal affections, their parts singly, before bringing them together; else, if they begin by
catarrhal conditions of the nose cam only be cured by the direct application practising together, this will have a tendency to bring about loose and ran-
of medicines to tlie parts by means of brushes and sprays through the invalu- dom playing, rather than any other. In selecting duets, the great difficulty
is to find such in which both players have a pretty fair and equal share of
able agency of the laryngoscope.
the work, so very few good, original, four-handed pianoforte works being
WHITFIELD WAED, M. D., 339 West 23d Street.
extant. If, however, the work of duet-practice should be only regarded as
affording a relief and variation to the more exacting work of solo-playing (as
PRESENTATION TO DR. DAMEOSCH.
it, perhaps, may be taken to be), it will be found necessary, most likely, to
R. DAMROSCH, leader of the Oratorio Society and conductor of the relax a little the bearing of the rule I have wished previously to enforce,
_ chorus of 3,000 voices at the recent music festival, in the Seventh anent "arrangements" of works. Works of this class, however, should be
Regiment Armory in New York city, presided May 19th, in Association Hall, well arranged and lie well for the hands of both players; and the works
at the last rehearsal of the society for the season. The society is preparing themselves need not, though of a light character, necessarily be trashy, nor
for a music festival next spring. In the midst of the rehearsal, Dr. Damrosch should they be all of one particular class such as operatic overtures, e. g. I
was summoned to the ante-room to see a hypothetical visitor on urgent busi- need hardly say, perhaps, that with those pupils accustomed to play toge-
ness. He was surprised at the applause which greeted him when he re- ther there should be an exchange of places at the keyboard with each new
turned to the hall. He understood it when he saw on the stage two large piece put before them.
easy chairs of wickerwork, upholstered in embossed velvet, and two stand-
With no class of learners does the musical instructor have more trouble
ards of ebony, on one of which was a large bust of Beethoven, and on the than with adult ones, especially if these be but beginners. These he will
other a silver tray, bowl, goblet, and ice 2>itcher.
find generally are the most impatient at the finger and mental drudgery ne-
Grace Gayler, for the committee, made the presentation speech and was cessarily attendant upon the outset of a practical musical course, be that de-
applauded by the singers. She said that it had been the intention of the society fined with ever such modest pretensions. The adult musical scholar, who
to obtain a bust of Berlioz for one of the standards, but none could be found has not had any previous tuition, curiously enough almost invariably under-
in the city. A dealer in Paris had shipped one, and as soon as it arrived it estimates considerably the difficulties in the way of his endeavor. He will
" only wish just to amuse himself a little," or would like " to be able to ac-
should be delivered at Dr. Damrosch's residence.
Dr. Damrosch said he was gratified to receive such a present from his company himself in a song," entirely unaware of how much training is neces-
co-workers in the home of his musical life. They had entered into his aims, sary in order to put him in the way of even these assumedly modest attain-
and he was only too gratified at their recent success. To succeed in such an ments. I think the musical teacher would be wise if he declined altogether
undertaking in this great city in a great State was to succeed indeed, to undertake this species of pupil; but if anything should incline him to try
what can be done with it, I can only advise him (even more strongly than I
especially as success in trade and material things is valued so highly here
did with reference to young beginners) to make the work as light as possible.
Certainly, we should be able to say, with Portia, in the "Merchant of
NOTES ON MUSICAL TUITION AND STUDY.
Venice," "Noneso old, but that they may learn." But an adult learner is
BY EUSTACE J. BREAKSPEABE.
generally so soon dissatisfied with his own progress: he may say that he
T should be seen in the first place, that the newly given piece does not only expects to do a little, but he is very rarely content with doing what it
make too great an advance in point of execution upon the last, as the is only to be expected of him that he can do. Inevitable failure waits on his
pupil will either be kept too long over it, or it will be left for something efforts to play ambitious work, or to proceed more rapidly than his set
else before sufficient work has been done upon it. Some learners there are, fingers will allow. It will be best for the teacher to make such an one re-
naturally eager to conquer difficulties, who are fond of attacking works cognize at first in how far they may be under the circumstances likely to pro-
much too difficult for them, thinking that by constant application they will ceed, and how much time will necessarily have to be spent if the work is to
succeed in the end in overcoming them. Self-instructors, especially, are be done at all properly.—London Musical Standard.
liable to fall into this mistake. I have known some to make a sort of drill-
hobby of one particular composition to which they have happened to take a
Miss Helen Lenoir, the manager of Mr. D'Oyly Carte's companies in
fancy. Half the amount of time expended upon work nicely-graduated,
would have given them the ability to overcome in a proper manner works America, was tendered a benefit at the Standard Theatre, on May 19th.
The programme consisted of one act each from the " Pirates of Penzance,"
quite as advanced as this they had set their minds upon acquiring.
It is only, then, by dint of the experience gained in making acquaint- " Pinafore" and " Billee Taylor." In spite of the inclement weather there
ance with more advanced work, that we can really become enabled to put the was a large audience.
finishing-touches to the easier, in coming back to it. Though it will be
The prospectus of the Hershey School of Musical Art of Chicago, for the
found impossible altogether to perform a piece quite perfectly before pro-
Summer term from July 7th to August 10th, has been issued. The
ceeding to a new one (as not much good will be done by keeping a pupil a extra
will include Mr. H. C. Eddy, Mrs. Sara Hershey Eddy, Mr. Frederic
long time over one piece in the idea that every little nuance of expression staff
and fingering shall be perfectly attended to) —still, it must be seen that the Grant Gleason and Mrs. Laura J. Tisdale.
precise object for which the piece was given in the first instance has been
The Boylston Club of Boston, Mass., gave a concert at the Boston Music
duly attained. The pupil, certainly, must be expected to do as much as it Hall, on May 18th, which was of unusual interest, the novelties presented
is possible for him to do with his present piece before taking another in its being numerous and important
place, else he may grow to tire of any work, however pleasing to him at first,
Admirers of Mauricio Dengremont, the young Brazilian violinist, will be
before he has had a dozen hours study upon it, especially if his tutor should
be found inclined to indulge him in this way.* It is a good thing, I find, pleased to learn that he has entirely recovered from the severe illness which
overtook him in New Orleans two months ago. He has regained his strength
* Unfortunately it is the case that so many teacners (ol a sort) give so much music over and and on Monday evening, May 23rd, was able to appear in a concert at Grune-
above what is necessary, for the unworthy reason of adding to their incomes by the profit they wald's Hall, where he was received with immense enthusiasm He will pro-
make on the sale of these teaching-pieces. There should be some limit put to the number of pieces
taken by the pupil in each term of lessons. This -will depend on the frequency of the lessons, and bably appear once in New York prior to his departure for Paris.
the stage of the learner. For those in the first stages I would say four to six pieces in the course
of every three months as being quite a sufficient number. More advanced players will require to
The Diller memorial concert at the Brooklyn Academy of Music, May
read through a larger Dumber ot new works; this, if only for the sake of making them conversant 24th, was successfully conducted by Mr. E. J. Fitzhugh.
widely with the different styles ot composition, and the different writers for the instrument.
D
I
June 5th, Trade
I£8I.
Music
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MUSICAL
CRITIC AND TRADE
their hair is long, their garments are quaint, their attitude angular. "We
are not quite sure if all we do has the Early English ring. But as far as we
can judge it's something like this sort of thing;" and the "sort of thing"
answers its purpose by pleasing the Lady Angela and the Lady Saphir, who
WHAT THEY TALK ABOUT.
unexpectedly flop in that direction. The Lady Saphir exclaims, "How
GILBERT AND SULLIVAN S OPERA OF " PATIENCF..
SYNOPSIS OF PLOT.
Botticellian! How Fra Angelican!" while the Lady Angela admitting that
The play is in two acts, whereof the first opens in the grounds of Castle the military aesthetics are not " supremely" right, protests, " O! Saphir, are
Bunthorne, and shows us twenty young ladies in aesthetic costume, each they not quite too all but?" and Saphir, allowing a trace of latent Philistin-
having a lute, mandolin, or archaic instrument in her hand. The twenty ism to appear, answers, " They are indeed jolly utter."
"flop" and sprawl and sing, for they are all in love with Bunthorne, who
As all move away, the ground is left open for the encounter of the rival
heeds them not. The Lady Angela, the Lady Sapliir ( and the Lady Ella, flop, poets, and it is at this point that Mr. Gilbert draws most obviously upon
sprawl and sing more than the others, and their ' Ah ! miserie !"—early his ballad "The Rival Curates." It will be remembered how the Rev.
English spelling—has an acuter tone. They imagine, poor things, that Bun- Clayton Hooper, of Spiffton-extra-Sooper, was a paragon of mildness, till the
thorne is " icy insensible ;" but the Lady Jane declares that he wildly loves Rev. Hopley-Porter, of Assesmilk-cum-Worter cut him out at the game;
Patience, the village milkmaid, who immediately appears. Patience has how Mr. Hooper sent to Mr. Porter threatening him with dire vengeance
never experienced love, except love for an old aunt, and can only say that, unless he " more gayly bore him," and how, on receiving the message, Mr.
if it mean true happiness, she has observed that " the truly happy never Porter said, "For years I've longed for some excuse for this revulsion; Now
seem quite well." So, putting love airily aside, the milkmaid chatters that excuse has come—I do it on compulsion." As with the rival clergy-
about the instant arrival of the 35th Dragoon Guards, whose officers were, a men, so with the rival versifiers. Bunthorne swears to "curse" Grosvenor
year ago, the lady-killers of Castle Bunthorne. " Fleshly men of full habit," unless he at once cuts his hair, parts it behind, and becomes commonplace.
sneers the Lady Saphir ; " We care nothing for Dragoon Guards," protests Appalled by the threat, Archibald consents to transform himself into " a
the Lady Ella; and then the twenty languish away to sing a morning carol steady and stolid-y, jolly Bank Holiday, Everyday young man," and goes off
to their Reginald.
to do so, leaving Bunthorne dancing with delight, at which exercise Patience
Enter now a band of stalwart and red-coated warriors, headed by Colonel discovers him. Bunthorne amiable and happy, how can Patience, whose love
Calverly and Major Murgatroyd. Their immediate mission is to supply is "utter unselfishness," marry him? It cannot be, and the match is
" padding" of the approved Gilbertian pattern ; wherefore the Colonel sings broken off forthwith. Meanwhile, Grosvenor comes dancing back in a tweed
a patter song about " that popular mystery known to the world as a heavy suit, followed by the twenty in violent milliner's apprentice attire. The
Dragoon," and introduces Lieutenant the Duke of Dunstable, who has joined maidens have followed him out of sestheticism, but all to no matrimonial
the army in the vain hope of getting snubbed, and of seeing reason to re- purpose, for he being a commonplace young man, Patience can love him, and
nounce au idea that men are born "bent at an angle of forty-five degrees." does so. Now would Bunthorne console himself with the Lady Jane. Alas!
This over, Bunlhorne, a " fleshly poet," appears, escorted by the twenty rap- the Dragoons appear, escorting the Duke, who, resolved upon marriage,
turous ones, in graceful possession. Still he heeds them not, but in a selects the only candidate that happens to be plain. The Lady Jane promptly
frenzy of inspiration writes thoughts they long to know, while before this obeys his call, and, as the curtain drops, Bunthorne protests, "Single I
angular creature in drab plush the well set up soldiers are nowhere. All must live and die; I shall have to be contented With a tulip or lily."
talk, or rather sing, at once. "Pity those who love in vain" wail the
The strength of the composer is not put forward at the
maidens; "Pretty sort of treatment for a military man" protest the outset. His introduction, for example, would, on ordinary occasions, pass
Dragoons; B unthorne confidentially observing, "Though my book I seem unnoticed, and the numbers immediately succeeding though pretty, are not
to scan in a rapt ecstatic way, . . . I hear plainly all they say." remarkable. When, however, we come to the Colonel's song about the
Further reproached by the warriors, the Lady Jane speaks for self and Heavy Dragoons, Mr. Sullivan's humor flows in a full stream, while the
companions. Bunthorne has idealized them all. "My eyes are open; I ensemble for officers and ladies appears as a capital example of its kind.
despair droopingly ; I am soulfully intense ; I am limp and I cling."
Other noticeable pieces are Bunthorne's song, "If you're anxious for to
Meanwhile Bunthorne, the fleshly one—he looks to scale seven stones at shine," with its delicate and charming orchestration: the duet for Patience
most—has finished his poem. It is a " wild, weird, fleshly thing," entitled and Angela, "Long years ago, fourteen may be," also beautifully scored; the
" Hollow, Hollow, Hollow," and expresses doubts whether, seeing the inti- charmiug madrigalian dialogue, "Prithee, pretty maiden," for Patience and
mate connection between some of Nature's fairest things and the phamaco- Grosvenor; a well-written sestet with chorus, " I hear the soft note;" Lady
poeia, she is essentially poetic or profoundly realistic. The twenty listen in Jane's mock sentimental ditty, " Silvered is the raven hair," with its Hande-
rapture. " I t is purely fragrant," says A ngela. "How earnestly precious!" lian recitative; the spirited duet for Bunthorne and Lady Jane, "So go to
exclaims Saphir. This seals the fate of the rejected dragoons. " You are him and say to him," and its thoroughly funny companion for Bunthorne and
not Empyrean. You are not Delia Cruscan. You are not even Early Eng- Grosvenor, " When I go out of door." In all these appear the ideas and the
lish. O ! be Early English ere it be too late," The graceful possession then hand of a musician who has something to say and knows how to say it.
moves off, and, first expressing their disgusted sentiments in song and What though the work be not of an exalted kind? Excellence consists
chorus, the soldiers follow, leaving Bunthorne alone. Bunthorne here owns largely in fitness.—London Daily Telegraph.
to being an aesthetic sham. He has no love for lilies or dirty greens, not
HOW THEY TRAINED THE GOAT.
he ! but a great deal for Bunthorne ; and medievalism, including, "stained
glass attitudes," pays. To him presently comes Patience, who, puzzled,
"
Speaking
of
Meyerbeer
in London, we may state that the illustrious
hears talk of love. "What is this love ?" queries the dairymaid, after send-
was exceedingly anxious about the goat in Le Pardon de Ploermel.
ing Bunthorne discomfited away. Enter the Lady Angela to answer the master
first wanted the one from the Salle Favart to be conveyed across the
question. Love is "utter unselfishness ;" whereupon, fired by the descrip- He
of Dover, but Messrs. Gye and Aug Harris declared that there were
tion of so noble a passion, Patience will begin loving at once. Then, as she Straits
in England, and that national self-esteem must be respected. The
calls to mind a little baby boy erst while her cherished playmate, a stranger goats
and the goat must be thoroughly English. Meyerbeer
appears. He is Archibald Grosvenor, " an idyllic poet, "and what is more bridge, the torrent,
At every rehearsal, however, he asked for his goat, but, like
to the purpose, he was once the baby boy enshrined in the milkmaid's submitted.
Anne, saw nothing come. Messrs. Gye and Harris always replied,
memory. The two recognize each other, and they love. But poor Patience Sister
plegmatically: ' Make your mind easy, M. Meyerbeer, the goat will be here
—who, as a slave of duty, is the petticoated double of the apprentice in the and
know its part the first time it comes on the stage. We are practical
" Pirates of Penzance"—recollects that love is "utter unselfishness." Ar-
in England, as you will see.' In a state of disquietude difficult to be
chibald is "incomparably beautiful in mind and body," at any rate he says people
described,
not much re-assured, diplomatically requested Mme.
so, and would be selfish in her to monopolize such gifts. This " the idyllic Carvaiho to Meyerbeer,
beg
that
she
might rehearse with the goat. Mme. Carvalho
poet" admitting, the two exeunt despairingly in opposite directions.
understood his motive and did ask for the goat, who, at last, rehearsed.
Once more enters the graceful procession, to the sound of pipe and Meyerbeer, very feverish, was in front. Armed with his opera-glass, he di-
tabor, the Ladies Angela and Saphir leading Bunthorne in flowery chains. rected his glances towards the end of the bridge, where the goat had to ap-
The fleshly poet, annoyed with Patience, has put himself up to be raffled for pear. At the given signal he beheld the nimble creature start forward and,
in aid of a deserving charity, and the Dragoons are in despair. One of the amid the applause of orchestra and chorus, clear, at one leap, the bridge
twenty will win, one of the soldiers definitely rise a loser from the game of thrown across the torrent. He immediately got up and asked Harris to tell
love. They sigh, they kneel, they weep ; but the maidens are indifferent, him the secret of his extempore training. 'In Paris,' he observed, 'the
and the lot is about to be drawn when Patience steps in. Love is "utter un- goat rehearsed three months.' ' I dare say,' replied Harris, 'but, as we
selfishness;" she detests Bunthorne, therefore she will marry him. " A have already told you, we English are eminently practical. With the goat I
maiden who devotes herself to loving you is prompted by no selfish view." have engaged its owner and a bunch of carrots for each performance. The
" Exactly so," responds the chorus, and the rejected twenty pair off with man and the vegetables are stationed on the other side of the torrent,
the dragoons, vowing never more to leave them. At that unlucky moment tempting the goat. I hold the animal fast and menace it with a whip, which
irresistable Archibald enters, drawing the rapturous maidens around him, as it knows is not productive of pleasure; then I simply slip the rope, at a sign
a candle attracts moths. "He is aesthetic," they cry, and upon the renewed from our illustrious conductor, Mr. Costa. The poor beast does not require
flopping, sprawling and singing of the twenty, the jealous fury of Bunthorne telling twice. It runs from the whip and rushes on the appetising carrot,
and. the unutterable disgust of the Dragoons, the curtain descends.
and,' added the humorous stage-manager, ' This is the way we do it.' "—Le
We are next shown a rural glade, what time Grosvenor and the raptnr- Me'nestrel, Paris.
ous ones enact the scene previously played with Bunthorne in the leading
part. Archibald is also in the frenzy of composition, but being an idyllic
The third concert of its current season by the Arlington Club took place
poet, his theme is not colocynth and calomel. He sings rather of a very bad in Tremont Temple, Boston, on Monday evening, May 16th. The following
boy, who went from bad to worse till " he was lost totally, and married a works were sung by the club: Unison chorus, organ accompaniment, from
girl in the corps de bally.'" The maidens adore the poem. " Marked you," "Fest Gesang," Mendelssohn;" Breathe my Harp," Bishop; " Reiterlied
says one, "how the damning catalogue of crime stole on till Retribution, and Margarita," G. W. Chadwick; "What Ho!" Beale; "Rhine Waltzes,"
like a poised hawk, came swooping down upon the Wrong-Doer?" At this piano accompaniment, Brisner; "The Lovers," Koschat; "Beware!" and
point Archibald reminds his worshippers that they have followed him about " King Witlaf's Drinking-horn," Hatton; and the pilgrim's chorus from
since Monday, and, as it is Saturday, he would be glad to enjoy " the usual
" Tannhaeuser," with piano accompaniment. Mr. W. J. Winch
half-holiday." They see the force of this consent to " close early," and go Wagner's
directed
the
performances and Mr. W. I. Howell played the accompani-
away in low spirits.
ments.
Now comes Patience, the affianced of Bunthorne, tearfully hoping that
The second concert of this season of the Englewood Choral Club was
Grosvenor loves her as much as ever. He does, but discreetly retires on
Reginald's approach, attended by the Lady Jane—"among the faithless given on Thursday evening, May 19th, at the Athenaeum, Englewood, N. J.
faithful only she." Bunthorne is in bad case. The Lady Jane pesters him, This club, which has existed under various names for fourteen years, is now
he is suspicious of Patience, and irritated by his rival's success. At length under the instruction of Mr. A. D. Woodruff of this city, to whose zeal and
he determines to encounter Archibald boldly, and, backed by the Lady Jane, efficiency its present excellence is largely due. The concert of Thursday
beat him on his own ground. Bent upon this he goes off; the Colonel, the evening was listened to by a large and appreciative audience, including many
Major and the Duke coming on. They have for love's sake turned aesthetic; persons from New York and neighboring cities.
OUR EXCHANGES.

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