Music Trade Review

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February 20th, 1882.
THE MUSICAL CRITIC AND TRADE REVIEW.
PERFORMANCES.
The performers enjoyed it, and consequently
played it with much appreciation.
The new quartettes and quintettes should be
played frequently, in order to familiarize our mu-
PHILHARMONIC CLUE.
T appears that the concerts of the Philharmonic sical audiences with modern compositions in cham-
Club, at Chickering Hall, have been a kind of ber nnisic.
"happy family gathering."
AN IDEAL OPERA COMPANY.
Oue is impressed with this fact when he finds
E could never understand how an opera com-
that every number, yes, every movement, is ap-
pany that sings such operas as "Fatinitza,"
plauded without the slightest discrimination.
Everybody in the audience seems happy; every- "Chimes of Normandy," and "Pinafore," could ar-
body is smiling and evidently pleased, and after rogate to itself the title—Ideal.
There are many distinctions in opera, and if an
each pause everybody applauds.
The fourth concert took place February 7, open- opera company is determined to be called "the
' ing with a trio by Gade, played by Messrs. Con- ideal," it should at least give performances of
stantin Sternberg, Richard Arnold, and Charles "ideal" works.
"The Ideal Opera Company, limited," would
Werner.
The quartette of the evening was by Bazzini, in have been the proper title.
One would then know that a certain grade of
D minor, op. 75, one of his latter works.
The ensemble playing in the trio, as well as the opera was meant; a limit was intended beyond
quartette, gave evidence that much time and at- which they would not step.
But to use such a term in an unlimited sense, and
tention had been bestowed upon the compositions.
Unlike many pianists who are called upon to play then sing such operas as the ones we mentioned, is
a trio, Mr. Sternberg subordinates the part instead an anomaly.
of forcing the tone of the instrument. Both the Yet another reason why the company traveling
trio and the quartette of the evening comprised through the country recently, and which just fin-
two of the best rendered compositions of this sea- ished a series of performances in this city, should
not be called "the ideal," is based upon the fact
son's concerts.
Mr. Arnold played an old Italian sonata by Por- that the artists are not ideal opera singers.
pora—rather an ungrateful undertaking, if we ex- Mr. Tom Karl is a truly excellent artist, but not
for comic opera, the kind "The Ideal Company"
cept the study which it offers to a violin player.
In these days, when the love of the antique oc- seems to relish most.
cupies a large share of our attention, it may be rea- Mr. Myron Whitney is known as an artist of mere
sonable to put such an antique work on a pro- than ordinary ability, and a very desirable singer
gramme, just for comparison sake, if not for any for oratorios and cantatas, but is not adapted to
a comic opera company, such as °The Ideal."
other purpose.
Take away these two artists and the remainder
Mr. Constantin Sternberg played three of his
would be able to give fair representations of light
own pleasing compositions.
We have referred to these compositions and the operas, although their consciousness of the serious
manner of their performance on a former occasion. questions of existence, which they display during
The vocalist was Mrs. Norton-Hartdegen, who the opera, unfits them for the comic operas they
sang Liszt's "Es muss ein wunderbares sein," and constantly give.
Robert Franz's "Er ist Gekommen," and, as an en- These are two very grave reasons why we do not
core, a song by Grieg.
believe in "The Ideal Opera Company," either as
The only exception to be taken to Mrs. Hartde- to the title it uses or the manner in which it seeks
gen's singing is a total absence of all passion and to prove the appropriateness of that title.
fervor in the delivery of the songs.
It is essential to their success that this class I
NAHAN FRANEO'S CONCERT.
of German songs especially should be sun
LARGE audience greeted Mr. Franko on the
the pathos that is contained in them.
occasion of his concert at Steinway Hall,
The Scotch songs, by Beethoven, with piano,
riolin, and violoncello accompaniment, suffered for February 8.
Mr. Franko is a violinist who plays with great
the same reason.
In addition to this defect, Mrs. Hartdegen did expression, broad tone, and nearly faultless into-
nation.
not enunciate the text with distinctness.
He has acquired technical ability which enables
The next concert takes place March 7.
him to play compositions such as the "Romanza"
of Wilhelmj, and Leonard's "Fantasie Militaire,"
"MANOLA" AT THE FIFTH AVENUE.
T^HE production of "Manola" at the Fifth with exactness and precision.
these two solos and the violin
_L Avenue Theatre was very creditable to the He of performed
Schumann's A minor sonata (for violin and
management of that popular place of entertain- part
piano), also violin duets by Godard, with Mr.
ment.
S. Franko,—all in an intelligent and conscientious
The costumes were rich and effective and the manner.
scenic effects very beautiful. The generous out- The Schumann sonata is aot adapted to a large
lay made by its proprietors should have insured hall like Steinway Hall.
for this delightful opera a longer run.
It is a salon work, or, if performed in concert,
Catherine Lewis was a very charming Manola. should be played in a chamber concert in a small
investing the role with all the kittenish mischief hall.
and delightful audacity for which she is noted.
Neither Mr. Franko nor Mr. S. B. Mills, who
As Prince Calabazas, John Howson was an in- performed the piano part, could do justice to
teresting personage, playing the part in a highly himself before an indiscriminate audience in the
humorous manner, which was appreciated by the performance of such a work in such a hall.
audience. Much merriment was occasioned by
No matter how excellent the rendition was, it
Leslie's skillful monoeuvres with his paralytic arm. could not succeed in attracting attention under
Miss Marie Jansen was a pleasing Beatrice.
the circumstances.
Mr S. B. Mills played Liszt's "Rhapsodie
NEW YORK QUINTETTE CLUB.
No. 10."
ISS LINA ANTON, Messrs. Roebbelen, Klu- A vigorous attack, splendid execution, broad
gescheid, Resch, and Miiller comprised this phrasing, and an understanding of the subject
Quintette Club on the occasion of its fourth con- characterized this performance of the well known
cert, which took place on the afternoon of February pianist.
9, at Stein way Hall.
Mrs. Bella Cole sang Mercadante's "Or la sull'
The programme consisted of a Haydn quartette onda."
We are obliged to say that false vocalization is
(D major); a suite for piano and violin, by Ries,
op. 27, No. 2, and Saint-Saens's quintette, op. 14. a pronounced fault with Mrs. Cole's method of
The Haydn quartette does not present any tech- singing.
nical difficulties which the performers constituting The upper notes are gradually but surely be-
the various chamber music clubs of this city can- coming worthless, and their use is becoming pain-
ful to the musical listener.
not easily overcome.
It was performed with grace and spirit, especially Gifted naturally with an excellent vocal organ,
it is a pity that Mrs. Cole does not cultivate it
the first parts.
It is different with Ries's suite, which requires properly.
considerable technique.
SAN FRANCISCO MINSTRELS.
This number should have had more study ap-
plied to it before its production in public.
A N evening can hardly be spent more pleasantly
It was by no means a satisfactory performance, J \ than at the San Francisco Minstrels. The
many of the passages being clouded in obscurity 'Salamagundi Musicale," under the efficient "chair-
and the ensemble being imperfect.
manship" of Mr. Morelaud, is full of entertain-
Saint-Saens's delightful quintette, written in the ment for • lovers of good music and unadulterated
original, piquant and graceful style of this talented fun. The singing of Mr. Frillman, Stanley Grey,
composer, seemed to be the favorite number.
and the Boy Choristers, is always meritorious, and
{Continue i from, page '209.)
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211
never fails to interest the patrons of this cozy opera
house.
That quaint genius, Bob Slavin, continues his
remarks upon various important subjects, and is
surprised at the hilarity they occasion. Billy Birch
chuckles with perennial delight over his stories,
and Backus is as irrepressible as of yore.
TROUBLE AT THE BIJOU.
C. McCREERY'S losses have been very
• heavy in bringing out "L'Afrique" at the
Bijou Opera House. He paid SI,000 a week rent,
and had to meet the expenses of salaries, costumes,
etc.. in addition.
Miss Marie Glover, who played the leading role,
had considerable trouble in collecting her salary,
$75 a week, which was promised in advance each
night before she went on the stage.
Monday night, February 13, McCreery did not
pay the usual installment, and on the following
night, refused to pay in advance, and owes Miss
Glover for Monday's performance. Miss Glover
then left the theatre.
Her part was taken at short notice by one of the
chorus girls, who "guyed" the piece terribly.
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A LOVING MUSICIAN.
T3ENJAMIN FAEDER, of Philadelphia, Pa.,
XD the city of Brotherly Love, has done much
towards changing that title into "the city of
Daughterly Love."
Ben was a member of Simon Hassler's orchestra.
A couple of years ago, a wealthy gentleman from
New York heard him while the orchestra was per-
forming at Cape May, and took a fancy to Benny,
sent him to Leipsic, had him partly educated m
music, while Ben educated himself in the arts
of Venus.
Mr. Bressler, the New York millionaire, had his
family in Leipsic, and Benny, discarding the benefi-
cence^of Bressler, with whose family he lived,
made love to Mrs. Bressler.
Old Bressler visited his family in Leipsic, and
discovering undue intimacy between Ben and
Mrs. B., he departed and put a detective on duty
to watch the twenty-year-old genius.
His report led to the subsequent proceedings,
and a divorce was granted for divers reasons.
Alimony to the extent of $80 per week was
allowed to Mrs. Bressler, and she and her daugh-
ter Rosa have been residing, until recently, at the
mansion of the Faeders in Philadelphia.
A few weeks ago, after it had been determined
that Benjamin was to marry Mrs. Bressler, he and
she went to New York, where furniture and other
family conveniences wore purchased, and prepara-
tions made for judicious housekeeping. The sum
total of expenditures was in the neighborhood
of $900.
Until this point in the history of our young
musician is reached, there is nothing of more than
usual interest to be noticed in a chequered career.
But immediately after the purchase of utensils
for stewing the oyster and frying the frog, young
Benjamin departed from Mrs. Bressler and was
not heard from by her until she visited his pater-
nal roof, under which she was not permitted to
step.
She had gone thither to pay a visit to her
charming daughter Rosa /having heard her daugh-
ter was there), who arose, however, before the
approach of the widowed mother, and, jumping
over a back fence, took refuge in the kitchen of a
friendly neighborhood.
Ben, who had been guilty of this new episode in
the history of the House of Bressler, soon joined
Rosa, and they returned to his musical home after
the departure'of the sad Mrs. Bressler. They are
probably married by this time—Ben and Rosa.
' Old man Faeder, on being quizzed on the sub-
ject, remarked, "Benny is a man now, and that's
his business." We cordially agree with old man
Faeder.
AN ACTIVE MUSICIAN.
R. JOHN J. BRAHAM, the conductor of the
orchestra at the Boston Museum, is one of
the most popular young directors in the city of
Boston
He has been very active in producing the comic
operas that have had such long "runs" in this
city.
The following works he orchestrated himself, as
the orchestral parts were not accessible at the
time the operas were produced by him: "La Belle
Helene," "Evangeline," "Conrad the Corsair,"
"Minnehaha," the first "Pinafore" ever given here,
with its memorable long "run;" "Le Petit Duke,"
"Puss in Boots," "La Mascotte," "Olivette,"
"Pirates of Penzanee," "Patience," and his own
opera, "Pipins."
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