Classic Mode

Music Trade Review

Issue: 1881 Vol. 5 N. 1

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
F
THE
(ffiititk &
With which is incorporated THE MUSIC TRADE JOURNAL
VOL. Y.
NEW YORK, AUGUST 5TH, 1881.
T-L,
No. 1
famous Mario-Grisi oj)era troupe, which was under lease during Mr. Mapleson's visit to TKis ~co"untry.
management to Max Maretzek for an American tour, In giving judgment Lord Coleridge said the de-
and early in 1853 made her first appearance in New fendant had been guilty of a breach of a most im-
York in the old Academy of Music. Favored with portant covenant, and had left the building at the
fame, fortune, a beautiful face and figure and ro- mercy of Providence during his visit to America,
mantic history, she was received with great favor trusting to be relieved from the severe operation
by the American people. Her New York debut was of the law.
unparalleled in point of enthusiasm. She next went
to Costa Rica, Central America, and in 1863, in com-
BODOG ORCZY'S " IL RINNEGATO."
pany with Fallini, the baritone, went to San Fran-
N Saturday night, being the last of the sub-
cisco, where she apjseared at the Metropolitan
scription, Mr. Mapleson produced the only
Theatre.
At the end of the year she left San Francisco for novelty of his season— a Hungarian opera, styled,
Australia, but was shipwrecked on a South Sea on the Italian stage, " II Rinnegato," original li-
Island inhabited by cannibals All the other sur- bretto by Farkas Deak, Italian adaptation by S. C.
vivors were eaten, but she escaped through her Marchesi, music by the Baron Bodog Orczy. Al-
wonderful singing, with which she pleased the though certain selections from the work such as
chief. After a year's captivity she escaped and the overture and ballet pieces, had been previously
returned to San Francisco. Josephine then mar- heard, the production of the whole called forth
ried George Evans, the musical director of the interest in artistic circles. This feeling, however,
theatre, but, not living happily together, they could hardly have been keen, since long and pain-
were divorced.
Josephine, during her career, ful experience has created a general impression that
became addicted to champagne drinking. After an amateur's opera is doomed to failure; which im-
her divorce she began to go down hill She would pression, when the amateur chances to have a title
drink all kinds of liquor and get intoxicated. She forthwith ripens into conviction. I t belongs per-
was not so exclusive in choosing her company as haps to Nature's system of compensation that bar-
formerly, and her beauty and her voice began to ons, marquises, princes, and so forth have a hard
disappear. While on a spree in Sacramento she time of it on the lyric stage. Anyhow this is a law
was thrown out of a carriage and crippled for life. so sternly enforced that he must be a bold man who,
if ennobled in any degree, ventures to tread the
Josej:>hine, now but a spectre of the beautiful boards. When Rudolph enters the Wolf's Glen to
woman she once was, returned to San Francisco. keep his appointment with Caspar one shade after
Her money was all gone, and she turned to those another Avaves him back with imploring gestures.
who had fallen at her feet during the height of her So when a titled composer knocks at a stage door
success for aid. They spurned her and drove her nowadays pathetic apparitions interpose, and with
from the rooms they once would give thousands to mute eloquence beseech him to run away before it
have her grace. On the verge of despair she would opens. Thus might Prince Poniatowski, the Duke
hobble on her crutch to the stage entrance of the of Saxe-Coburg, and the Marquis d'lvry have ap-
theatre and beg of the actors for money. She next pealed to the Hungarian baron, each adding force
went to live with a disreputable man named Bower to his touching argument by pointing to the sem-
in a dirty three-story tenement on Chestnut street. blance of a dust-covered and forgotten opera. On
She would cook his meals, chop his wood and give the other hand, it may be that the Baron Bodog
all her money to him, for which she invariably Orczy called to mind that no rule exists without an
received thanks by blows. At night the fallen exception, and that the modern spirit of inquiry
Josephine played the piano at a Jackson street has not, up to this time, discovered any necessary
saloon, one of the lowest resorts in the city. For connection between a patent of nobility and opera-
this she received the pittance of $1.50 per night— tic disaster. Whether or not he persevered, and
all of which Bower took from her to get drunk was the more entitled to do so because, having all
upon. On the night following last Decoration his life breathed a musical atmosphere, and at one
Day, Josephine was found lying dead upon the time occupied a post officially connected with mu-
floor by her neighbors. The body was taken to sic, he now stands very near the line which divides
the city morgue, where it lay in ghastly nakedness an amateur from a professional. We sincerely
until an autopsy was held. Her death was report- trust that the Baron's title will not, at this juncture,
ed to have been caused by " chronic alcoholism," be remembered to his disadvantage. He can no
THE WRECK OF A WOMAN.
but there were three terrible marks upon the head more help being a baron, than Pitt, on a certain
that could have been the means of death. The famous occasion, could help being a young man.
FROM THE KOYWL COURT OF HUNGARY TO THE
remains were buried in the Potter's field, with no Let the public remember this, and show themselves
MOROTJE AT SAN FRANCISCO.
stone or tablet to mark the last resting-place of as ready to act justly towards the composer of " H
r i ^ H E story of the life of Josephine Ordz is one poor Josephine Ordz.—Herald, Boston.
Rinnegato" as though, like the author of " D o n
X of the most romantic and saddest that ever oc-
Giovanni, he were in a position to be kicked by any
cured outside of the two covers of a book of fiction.
upper servant of a German princeling.
Josephine Ordz, in 1848, was young, beautiful and THE NEW LONDON ITALIAN OPERA PROJECT.
facinating, a central figure in the brilliant society
It would not be courteous to the Baron Bodog
at Pesth, the Hungarian capital. Her father, Count y^HE consolidation of the opera companies of Orczy, and might prove cruel were we to judge
Ordz, sent her early in life to a Hungarian convent, X
Her Majesty's Theatre and Covent Garden, the music of his opera on slight acquaintance.
where she received an education that fitted her to London, is definitely announced. The directorate There is reason to believe that he never intended
shine with brilliancy in noble society. It was just includes Lord Lathom, Count Gleicken, and Baron the work for superficial examination, but rather
at the time when Hungary revolted against the Ferdinand De Rothschild. The capital stock of that the earnest mind might have something to
Austrian rule that Josephine became enamored the company is $1,500,000 of ordinary and §750,000 contemplate again and again before success in
with Count Karaly, a Hungarian patriot.
d deferred shares. The purchase price of both sounding the depth and scaling the height of the
Count Ordz was loyal to Austria, and Josephine opera houses is $1,275,000 in cash and $750,000 in subject rewards effort. We are bound to express
had to choose between father and lover. She chose deferred stock. The prospectus of the company our full assurance that this assumed purpose is
the latter, and when Count Karaly was arrested as iBads: '' The sum agreed to be accepted by the fulfilled to the uttermost, and that only a resolute
a rebel she did everything in her power to effect his kte Mr. Guy's Executors for the whole of the in- will can master " II Rinnegato." The Baron is
release. Karaly was sentenced to be hanged, but terests in both opera houses is," &e. Nothing is not a flippant composer or even one who aspires to
through the efforts of Josephine, who bribed an siid about the sum paid to Mr. Mapleson, whence the honor of pouring forth "profuse strains of un-
officer, he made his escape. They fled to France, ii would seem that Mr. Gye owned both concerns. premeditated art." He attempts no rivalry with
were married, and lived happily together until the ]Vr. Mapleson contracts to transact the company's the birds, and leaves " native wood notes wild " to
those whose nature it is to sing them. Judging by
husband died, leaving Josephine almost penniless. American business for 10 years.
She was a splendid vocalist, and, changing her name It has been arranged that Adelina Patti shall what we find in " II Rinnegato," the author Bees
to D'Orme Josephine, made her debut as a singer give one performance weekly next season. She in music a mission far larger than that of merely
on the operatic stage of Paris in 1851. She made intends to reside in Wales and come to town ex- pleasing. In point of fact, there are many parts
of the opera which do not please; but, with refer-
a brilliant success, and, in all the large capital cities pisssly for each performance.
of Europe where she made her appearance, her suc- 3ne of the reasons which led to the formation ence to these, it must be said that the result in
cess was pronounced phenomenal. The Austrian of the Directorate was the forfeiture of Mr. Maple- question never appears to have been contemplated.
authorities forgave her for her disloyalty, and Jos- '. soi's lease of Her Majesty's Theatre by reason of Music written on the principle here exemplified
ephine returned to Pesth the reigning contralto I tli3 non-payment of the premium of insurance on declines the restricted field within which alone
star of all Europe. In 1852 Josephine joined th,e , thi building in breach of the covenants of the the sense of hearing is delighted. It goes beyond,
RUBINSTEIN IN LONDON.
RUBINSTEIN was heard at perhaps his
• best at his final recital at St, James' Hall
on July 4. As gems of the performance may be
mentioned the popular "Moonlight" sonata, the
last movement in which was, however, taken much
faster than usual ; the sonata in D minor (op. 31),
the Nocturne of Field, the "Funeral March" of
Chopin, Liszt's transcription of the " E r l K i n g , "
and the March from Beethoven's " Euins of
Athens." M. Rubinstein, because he was less
excitable than usual, was in his happiest mood,
and his auditors of course gave him the warmest
of leave-takings It would hardly be possible at
the end of a feverish season to gauge the net artistic
results of M. Rubinstein's recent visit here. That
the great pianist has, as a man of sense, risen in
public estimation, cannot be said. He, with mark-
ed and conspicuous contempt for the public wishes
and convenience, refused to announce his full pro-
grammes in advance, and his schemes (down to
the last, when a batch of his own works were im-
mediately followed by two Beethoven sonatas
placed together) were formed in so eccentric a
style that, were not the pianist M. Rubinstein,
we should be tempted to believe he was play-
ing off a joke at the expense of his support-
ers. M. Rubinstein's attitude before the public
was that of a man who was wearied of his work,
and who pitied the taste of the public which pre-
ferred his playing to his compositions. Add to
these the public displays of bad temper—at the
Crystal Palace because the chorus was not able to
rehearse on Saturday morning, at St. James' Hail
because a boy blew a post-horn in the street, and at
Willis' Rooms because his assistant did not turn
over the page to his liking—and it will be seen
that M. Rubinstein has tolerated rather than court-
ed the public. As an artist his reputation remains
untouched. We have had some indifferent and
some very fine playing this season, and it seems
that the sort of performance the public may ex-
pect greatly depends upon the state of M. Rubin-
stein's temper. Liszt is reputed a fine player, but
few of the present generation of British musician
have heard him, and those few are biased. M.
Rubinstein therefore, so far as England is con-
cerned, remains head of his profession, and he has
held his own through a season during which great
pianists swarmed in London.—Figaro, London.
M
O
39X109
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182
THE MUSICAL CRITIC AND TRADE REVI
August 5th, 1881
into regions "where all sounds, agreeable or other- children reside in Thurlow-place, Lower Norwood, the maturijty of his career he composed an opera
seria, pntitJe£L_LiPj.ttore e Duca," expressly for that
wise, have an accepted affinity with human feeling, London.
semi-German semi-Italian city, Trieste, whose de-
thought, and deed. These regions are vast and
cided success added to his reputation, and set the
vague, and in proportion to their vastness and
LOST! A COMPOSER.
seal of Continental approbation on his genius. Such
vagueness is the freedom they confer. No law
ICHAEL
WILLIAM
BALFE
was
born
at
a career as that of Balfe's is rare—unprecedented
reigns there. He who enters in may do just as he
Dublin,
May
15th,
1808.
He
is
the
first
Eng-
in this country, where so little account is ordinari-
pleases, none daring to fetter his liberty or dictate
lish
subject
of
modern
times
whose
talent
as
a
com-
ly taken of the labors of our own musicians, how-
his line of action. Towards such "back-woods"
of music, modern composers, unable to distinguish poser has been acknowledged, and whose works ever conscientious and hard-toiling. It may just-
have
been
performed
throughout
the
Continent
of
ly be likened to the career of Rossini in Italy and
themselves under a reign of law, are setting their
faces, and the Baron Bodog Orczy goes with them. Europe; and it will be through him, and such as of Auber in France. Balfe, indeed, was our Ross-
Under the circumstances we must appeal to them him, whose merit is so justly appreciated abroad, ini, and our Auber; for his eclectic genius led him
and him for indulgence, even if we seem unreason- that our countrymen will, sooner or later, be com- to amalgamate the styles of those distinguished men,
ably slow to understand what they do. The Baron, pelled to relinquish the prevalent prejudice against while giving a coloring to the amalgamation which
was his own and no one else's. Thus M. W. Balfe
we are sure, will not refuse it to any who are still English musical capability.
plodding along the beaten roads of art, and influ- Balfe possessed in a high degree the qualifica- has been the champion of English musical art, not
enced on all sides by conventional notions. It tions that make a natural musician: the spontaneous only at home, but abroad. In the Colonies and in
may be supposed from the remarks just made that character of his music; the executive facility, almost the United States the name of Balfe is as much a
" II Binnegato " is an outcome of Wagnerism. In unlimited, and ceaseless fluency of invention, with household word as in the heart of London. We
this idea we can only discern a modicum of truth. a felicitous power of producing striking melodies. ought to be proud of such a man—a Dickens in his
The Hungarian opera has, no doubt, certain things His great experience added to these has given him way—if the widest popularity counts for anything.
in common with the representative works of Wag- the complete command of orchestral resources and The extraordinary welcome given to the '' Serag-
ner, but it has many more which the Bayreuth mas- a remarkable rapidity of production. His English lio" of Mozart, with its " wealth of welling melo-
ter would repudiate. Wagner might see a part of opera, " The Bohemian Girl," has proved the most dy," at Covent Garden Theatre recently, may be
himself in the remarkable earnestness and industry universally popular musical composition which has taken as a proof that a return of taste for this de-
which alone could have produced "II Rinnegato," emanated from this country, '' The Light of other light is about to take place.
and he would probably approve the free use of Days" in the " Maid of Artois," has been the most There is a vast amount of dramatic force in Balfe's
• characteristic themes, the elaboration of the or- popular song in England that our days have known. music independently of the qualities which appeal
chestral part of the score, and the steadfast avoid- His Italian opera "Falstaff," brought out at Her at once to the ear. His Sonata for stringed instru-
ance of beauty for its own sake. As a whole, how- Majesty's Theatre in 1838, the first opera written ments, played at the Monday Popular Concerts and
ever, " II Rinnegato " shows us the Baron Bodog for that establishment by a native composer, since elsewhere, proves that he could write according to
Orczy, and no one else. Wagner could not have the time of the Olympiade of Dr. Arne in 1765. At the rules of strict form. His orchestral effects
written the work if he would, and its composer the State performance given at Her Majesty's Thea- show that he knew how to employ the orchestra in
may flatter himself upon freedom from all rivalry, tre to the Royal Visitors on the occasion of the another manner than to make it " boom like a big
since, observant of the sacrifices involved, no other wedding of the Princess of Prussia, in 1858; " La guitar." His knowledge of stage business enabled
composer would if he could. Amateurs who are Zingara," the Italian version of "The Bohemian him to adjust his music so that it was well adapted
curious as well as modest doubtless anticipate fu- Girl," was selected for the Italian company, and to intensify the dramatic situations ; yet for all his
ture performances of the opera with interest. the " Rose of Castille " for the English company, knowledge and experience, superadded to his geni-
They suspend their judgment till their eyes have the composer being thus placed as the sole repre- us, he, as a composer, is lost.
grown used to a strange light, and their minds sentative of lyrical art in this country.
have grasped peculiar principles and methods. It is with Balfe that the highest honors remain. It may be that there are certain people interested
This is fair to the composer and just to themselves. As he was the first to elevate the British lyric in some way or another in keeping his works off
For our own part, these ends attained, we shall drama to a high position, so was he also the first the stage. It may be that the public, willing to
return to the subject.—Daily Telegraph, London. British native who was able to compete on the Con- sing his melodies in public, are frightened out of
tlu'r wits and wills by the dark shadows of pro-
tinent with foreign composers, and produce in hibitory penalties, and so the chain has been linked
France,
Germany,
Italy,
and
Spain,
the
works
of
a
together which has dragged poor Balfe from out of
AN ENGLISH BARITONE.
British musician. His inventive power of melody the line of popular memory.
HOW HE GOT INTO TROUBLE.
was ever fresh and abounding, and lives to reproach Whatever may be the cause, he is, as a composer,
N Englishman who gave his name to Justice the great want of the present day. In this, at least, lost. Can anything be done that he may be found,
Bixby as Henry F. Fairweather, was arrested no one has yet replaced Balfe. His industry was and restored to his proper place on the stage or in
on July 19th, for singing in Madison Square park, astonishing, and its prolific power is best proved the
concert room ?—The Orchestra and the Choir,
in disguise. Justice Bixby in accordance with the by simply giving a list of the Operas produced by London.
law sentenced him to six months' imprisonment in him, with their several dates—a list now, for the
the Workhouse, but on evidence of Fairweather's first time, correctly published:—
" LA REGINA DEL NEPAL "
respectability discharged him from custody the 1. " I Rivali di se stessi," Palermo, 1829; 2. " Un
A NEW OPERA BY G. 13OTTESINL
following day. He gave the following account of Avertimento ai Gelosi," Pavia, 1830; 3. "Enrico
his history to a reporter :
IV., al passo della Masna," Milan, 1831; 4. "Siege
IGNOR BOTTESINI has long been prominent-
" I was born in North street, White Chapel, of Rochelle," London, 1835; 5. " Maid of Artois,"
ly before the public in Italy as a double-bass
London, 40 years ago. Sixteen years ago I obtain- 1836; 6. "Catherine Grey," 1837; 7. "Joan of Arc," virtuoso without equal, and to his fame in so u-
ed the position of supplementary letter-carrier in 1837; 8. "Diadeste," 1838; 9. "Falstaff," 1838; 10. nique a capacity he has of late years added consider-
the London Post Office, I was rapidly advanced to "Keolanthe," 1841; 11. " Le Puits d'Amour," able success in composition. In this field his rep-
the office of Overseer of the Newspaper Branch, Paris, 1843; 12. "Bohemian Girl," London, 1843; utation is founded more especially on his opera
which, owing to severe illness, I was forced to re- 13. "Daughter of St. Marc," 1844; 14. " Les Qua- "Hero and Leander," which was brought out in
linquish four years ago. I have since been in tre Fils Aymon," Paris, 1844; 15. " The Enchant- Turin, and subsequently performed with success in
receipt of a yearly pension of £36 3s. During my ress," London, 1845; 16. "L'Etoile de Seville," Milan, Rome, and Naples. The work, moreover,
term of service in the London Post Office I was a Grand Opera, Paris, 1845; 17. "The Bondman," derived special interest from the fact that the li-
deputy chorister in St. Paul's Cathedral and con- London, 1846; 18. "The Devil's in I t " (Letty), bretto was fua'nislied by Arrigo Boito, who original-
ductor of various choirs. After leaving the Post 1847; 19. "The Maid of Honor," 1847; 20. "The ly proposed to set it to music himself, but, unable
Office I went to the Opera Comique as chorus- Sicilian Bride," 1852;21. "PittoreeDuca," Trieste, to complete his task during the vicissitudes of his
master and ' understudy.'
1856; 22. " The Rose of Castile," London, 1857; 23. early career, made it over to Bottesini. If Bottes-
I was at that time also engaged in the manufac- " Satanella," London, 1858; 24. "Bianca," London, ini thus started with the enormous advantage of
ture of pianos. Stagnation in that business lead 1860; 25. " Blanche de Nevers," London, 1860; 26. having a libretto by so eminent a writer, he was,
to my becoming a bankrupt in May. By advice of " The Puritan's Daughter," 1861; 27. "The Armor- on the other hand, placed at a disadvantage; for
my friends I sailed for this country early in June er of Nantes," 1862; 28. " IlTalismano," composed \ not entirely without truth was it said that if Boito
on the steamship Sardinia, after surrendering all 1865. Three Cantatas—One in Paris, one in Bolog- himself had composed the opera, he would have
my assets for the benefit of my creditors. Before na, and one in Exeter Hall, London.
produced a work very superior to that produced by
leaving London I was made the recipient of a hand- To this amazing record of inventive industry Bottesini. However, "Hero and Leander" as it
some testimonial and a purse containing £13 by have to be added his celebrated setting of Long- stands is a charming work, and has earned applause
the choir of the Palace Garden's Church, Kensing- fellow's Poems, and countless songs and vocal wherever it has been given. Another work which
ton. Arriving in Quebec on June 26,1 went direct pieces. But the work which will most recall his added to Bottesini's reputation as a composer—in-
to Montreal, intending to settle there, but my funds brilliant genius, and make the world regret its dependently of compositions of minor importance
being nearly exhausted, and the season at an end, loss, is his last. Balfe left behind him an Opera, —was a Reqiiieni, or "Missa Solennis," executed
I was persuaded by Mr. Sparrow, manager of the founded on Sir Walter Scott's dramatic novel of for the first time at the Teatvo Regio of Turin on
Theatre Royal, and other gentlemen to seek an "The Talisman," which was written in 1865, and Good Friday last year; and if he did not attempt to
engagement in New York. I came on with Mr. produced in 1874 at Her Majesty's Opera, with copy, much less to vie with, Verdi in the rather
Sparrow, who intended to introduce me to mana- great splendor and marked success before a bril- theatrical effects of the latter's more popular work
gers, whom, he thought, were about to organize liant audience, every one present being pleased to of the some name, he attested not only his desire,
traveling companies in opera bouffe. Unfortunate- receive the long-looked-for posthumous work of the but also his ability, to contribute to the reform of
ly, he was mistaken, for on my arrival here I found most popular of our native composers, whose mel- sacred music in Italy. His "Missa SoJennis," as
I was just as much out of season as in Montreal.
odies have not only cheered every homestead in pure in style as it is lofty and classical in concep-
"The only disguise I had at my lodgings at the Britain, but have penetrated to the farthest limits tion, is vastly superior to the wretched so-called
sacred compositions of modern Roman choir-mas-
Astor Place Hotel was a wig and beard. These I of the civilized world.
had used in playing the part of Dr. Hanibal, a Musicians ought to honor Balfe, if only on ac- ters, whilst it is free from those sensational aberra-
character in a musical sketch translated by Mr. count of what he has done for English music on the tions which stamp Verdi's Requiem as a work in-
Edward Dale. Purely for the purpose of remain- Continent, where the phrase, "An English com- tended not for the church but for the theatre.
ing incognito to the profession of New York while poser, no composer," is in too common use. Balfe's
I was forced to sing for alms, I donned the wig English operas, adapted to the German language, Bottesini's third and most recent work is "La
and beard, and thus disguised appeared before the have been played at Vienna, Berlin, Hamburg, ind Regina del Nepal." This work constituted one of
the novelties of the last winter season in Turin,
people in Madison Square on Tuesday evening,
other large towns. He composed three works for
was singing ' Speed on my Bark' when the officer the French lyric stage, "Le Puits d'Amour," "Les and had been expected with considerable interest
came. I was not begging, but the crowd volun- Quatre Fils Aymon," and another, "L'Etoile de by the composer's friends and supporters, who are
tarily dropped pennies into my hat." Fair- Seville," for the Grand Opera. In his early ycuth perhaps nowhere more numerous than in that city.
weather said, in conclusion, that his wife and four he wrote many works for the Italian stage ; anl in The opera was put on the stage with excellent effect,
and had been carefully rehearsed by Signor Pedrotti,
M
A
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