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THE MUSICAL CRITIC AND TRADE REVIEW.
My Own Love," in "Janet's Choice," which she
gave in response to an ericore.
Altogether, musically, the concert was not a pro-
nounced success.
Miss Kellogg is not the great singer now whom
the people of our city so delighted to hear and
honor some years back, and the general feeling
and expression was that this should indeed be her
farewell tour.
Signor Tagliapietra's singing was throaty and
most unsatisfactory. He dropped the G, which he
attempted at the end of "Non e ver," "like a hot
potato."
The audience was simply immense, every seat
being reserved and occupied.
The programme in full was: Liszt, Fantaise on
Hungarian airs, Herr S. Liebling (orchestra parts
on second piano), Mr. A. Glose; Donizetti, "La
Favorita," duet, Miss Poole and Sig. Tagliapietra;
Vieuxtemps, Fantaise Caprice, Mr. Timothie
Adamowski; Verdi, "La mia litizia," Lombardi,
Sig. Brignoli; Gounod, "Jewel Song," "Faust,"
Miss Clara Louise Kellogg; Mattei, "Non e ver,"
Sig. Tagliapietra; Chopin, a. Nocturne, b. Valse,
Herr S. Liebling; Brignoli, "A Night in Naples,"
duet (composed by Brignoli expressly for this
concert tour), Miss Kellogg and Sig. Brignoli;
Pinsuti, "Tis I," Miss Clara Poole; Hatton,
"Sweet Love, Good Night!" Sig. Brignoli; Verdi,
"Ernani, Involami," Miss Clara Louise Kellogg;
Adamowski, introduction and polonaise, Mr. T.
Adamowski; Verdi, "Miserere," "II Trovatore,"
Miss Kellogg and Sig. Brignoli.
"The Damnation of Fatist" will be the musical
feature of the other entertainments of the present
Star Course. Mr. T. B. Pugh, the manager and
proprietor of the Star Course, announced them as
follows, respectively: March 13, Grand Concert,
by M. Rafael Josetfy, assisted by the Germania
Orchestra; March 16, The Eoyal Hand-Bell Ring-
ers and Gleemers, of London; March 20, Grand
Concert, by Miss Annie Louise Cary, assisted by
Miss Emma L. Howe, soprano; Mr. Charles Fritch,
tenor, and the Germania Orchestra.
March 31, last, though by no means least,
"LA DAMNATION DE FAUST,"
by the New York Oratorio Society (300 voices),
and Dr. Damrosch's Great Symphony Orchestra
of sixty instrumentalists, Dr. Leopole Dam-
rosch, musical director.
This will be the first production of this work in
Philadelphia. So great is the interest manifested
that at the present writing every seat in the
Academy of Music for this performance is sold,
and standing room will be at a premium before
the time of performance.
THE GERMANIA ORCHESTRA,
under the leadership of Mr. William Stoll, jr., is
continuing its delightful Promenade Rehearsals
every Thursday afternoon at the Academy of Fine
Arts. This is the programme for to-morrow,
March 2, 1882: March of the Priests, Athalie,
Mendelssohn; Overture, Young Henry, Mehul;
Tonbild, Friihling8 Nahen, O. Bach; Symphony,
C major—c. Scherzo, allegro vivace; d. Finale,
allegro vivace—F. Schubert; Overture, Egmont,
Beethoven; Finale 1st, Robert der Teufel, Meyer-
beer; Galop, Flora, Wittmann.
The non-observance of Lent seems to increase
more and more. The theatres hardly suffer at all
from the season.
Haverly has scored a decided success with "The
Lights o' London," which has just entered on its
second month's run. Strange to say, none of the
critics seem to have remembered how much of his
play the author owes to his only long story,
"Rogues and Vagabonds."
It certainly does not say much for the popular-
ity of the story, which, when started, was said to
rival the best of Dickens's works in realism.
Even the names of some of the characters are the
same in story and drama.
Speaking of the critics, reminds us of a story we
lately heard of a dramatic critic out in the Far
West, who went to see a strolling "star" in the
character of Hamlet. He explained the want of
enthusiasm the audience manifested as in no way
attributable to any fault of the actor, but it "was
due to the inherent deficiency of the play itself!"
A critic, of course, is never wrong. If the artist
fails, it is the fault of the piece, or the opposite, if
needs be.
We never hear the value of professional criti-
cisms of art discussed but we recall Le Sage's
apologue in "Gil Bias." It is where the young
Portuguese noble is invited to give his opinion of
the Madrid "Company," and expresses one at
variance with that of his entertainers, illustrating
it with the corollary of the actor who squealed
so inimitably that the crowded audience met to
decide between him and a countryman who had
expressed disapproval the night before. They were
unanimous in the former's favor, and loudly hissed
his rival.
Whereupon, said the young visitor, the rustic
drew a real porker from beneath his cloak, and
addressed the self-constituted critics with the
moral: "Behold, ladies and gentlemen, it is not
me, but this poor creature you are hissing; see
what judges you are!"
RALPH CECTL.
HOBN^LLSVILLETN. Y.
HORNELLSVILLE, N. Y., March 2.
I HENRY'S Minstrels at Shattuck Thea-
tre, on March 1, was one of the liveliest
entertainments of the season. Mr. Henry as a solo
cornet player is the finest that a Hornellsville audi-
ence have listened to in a long while. The house
was well filled.
Miss Clara Louise Kellogg and Company will
sing at Shattuck Theatre on March 7.
H
NASHVILLE.
NASHVILLE, TENN., February 27.
^'"PATIENCE," by the Abbot Company, was
XT produced at the Grand Opera House this
evening to a large house. Miss Abbott is a favor-
ite in Nashville, and has a strong company. The
Vokes Family opened their entertainment with
"Cousin Joe," and closed with "Belles of the
Kitchen." Their engagement lasts until Wednes-
day evening.
LEX.
REVIEW OP NEW MUSIO.
March 20th,
compositions by that indefatigable worker, Mr.
Louis Dorn. The series called "Summer Holidays
at Home," are juvenile pieces that develop the
taste of beginners in piano playing. Why No. 9
should be called "Mother's Birthday," and No. 10
'•Grandpa's Favorite," we fail to comprehend, un-
less the vocabulary of the composer was entirely
exhausted in a vain attempt to find titles.
"In Fairy Land" is another series of the same
kind. The compositions are written correctly and
can be used by beginners, who receive a certain
kind of instruction with benefit.
"Minnie," a polka de salon, by Mr. Dorn, re-
quires technical ability of higher grade than that
required for the preceding numbers. There is one
serious objection to be found in it, and that is the
sudden change of rhythm ending the first line of
page five.
The pleasing waltz, by Philipp Fahrbach, en-
titled "Woman's Love," sent to us by Messrs. C.
H. Ditson & Co., New York, could be materially
improved if the tedious "Andantino" in the intro-
duction were suppressed.
Maud Talbot's "Young Heart's Waltz" is very
suggestive of Strauss, although the motives are
decidedly common in comparison with those of
the "Waltz Composer." Her simple "Fortunas
Galop" is an improvement on the waltz, for the
simple reason that it does not seek after effect.
Messrs. Ditson & Co. publish a very characteris-
tic polka called "Staccato." It is a salon etude com-
posed by Carl Bohm, and is by far the best com-
position we have looked through in this review.
Messrs. A. W. Perry & Son, of Sedalia, Mo.,
have the kindness to introduce us to the works of
Albert Saner. Oh, Albert, why write such sour
things as "A Dream of th^Past," and "Death of
the Flowers?" Your "Paeonia" waltz, for piano or
parlor organ, also pains us. It is one of those
waltzes manufactured in a few hours and doomed
to live about that long.
We find on the outside cover-page of the waltz
examples of the first dozen or so measures of piano
pieces published by A. W. Perry & Son. The
titles are euphonious and cover a large ground.
For instance, "Circus Parade Galop," "Cedar
Brook Waltz," "Red Clover Blossoms Waltz."
(Information entirely new to us.)
The most remarkable example, however, is the
arrangement of the Sunday-school air, "Nearer,
My God, to Thee," in six-eighth, the ryhthm, how-
ever, not preventing it from being in waltz tempo,
"Nearer, My God, to Thee," as a waltz, will not
become popular. The arrangement is perpetrated
by Q. Holshouser. Q, this is bad!
E firm of Oliver Ditson & Co., Boston, suc-
ceeds in getting the latest European novelties
published on this side of the water within a few
weeks after the originals are published in Europe.
This requires, besides energy, a perfect system
and the advantages of the very latest improve-
ments in machinery, presses, and the various pro-
cesses necessary for the publication of musical
compositions.
The firm sends us a pianoforte arrangement,
with text and vocal score, of Lecocq's "Le jour
et la nuit," known in this country as "Manola."
The English text is translated from the French,
by Mr. B. E. Woolf.
It is evidently gotten up at a price that enables
any one interested in that class of music to pur-
chase it. The typography is excellent, and- for all
practical purposes it is a very excellent publi-
cation.
We acknowledge with thanks the receipt of the
"Jolly Utter Galop," by O. Heyer; published by
Messrs. O. Ditson & Co. The composition is the
first of six, called "Oscar Wilde," that are em-
bellished with a cut of Oscar.
Mr. O. Heyer may be from Ohio, and if not, he
VOICE TRAINING.
should hurry to get there, and remain there, if the
inhabitants would tolerate him. There is nothing
NEW YORK, February 22.
more to be said about "Jolly Utter Galop" than
Editor of THE MUSICAL CRITIC AND TRADE REVIEW :
that it is really "utter."
IR—My attention having been directed, by one
Among other publications sent by this firm is a
of my scholars, to several articles published
soprano song, by F. Paolo Tosti, called "Good-
bye" (addio), with English and Italian text. It is in your paper, I judge any satisfactory results ob-
written with great care, and special attention is tained by special methods of practice will com-
paid to marks of expression, enabling the singer mend themselves to your notice.
The difficulties I encountered in my first at-
to fulfill the intentions of the composer. The
song has merit, and will be received with welcome tempts to sing, led me to think on this subject,
and by experimenting with my voice (naturally
if sung by an artiste.
Messrs. F. A. North & Co., No. 1308 Chestnut an ordinary one), I found my way to an easy,
street, Philadelphia, Pa., are apparently not dis- natural manner of using it, independent of the
posed to limit any composer in the number of stereotyped and conventional rules adopted by
vocal or instrumental pieces he may desire to place many teachers.
before the public. The firm sends us only eight 1 have learned it is necessary to understand
compositions from the facile pen of Louis Meyer. the relation of cause and effect in the study of
Among the instrumental numbers we find "The vocal music, and to work in accordance with the
Adirondacks Waltz," which has the advantage of laws of nature, which are progressive by gradations,
being composed for piano or organ, although why not by spasmodic efforts; and while there are
a waltz should ever be performed on an organ we scores of thorough musicians throughout the
country, experience and results in physiological
cannot divine.
A "Dance of the Grasshoppers" next calls for and musical directions prove there are compar-
atively few who understand the management of
remark.
The E flat in the twenty-third measure, on page voice, with reference to the mechanics of singing,
5, must be changed to a D. There is a livejy spirit or, in musical terms, technique, or method. It is a
exhibited in this little morcenu, and we have no self-evident fact that the first consideration should
doubt it will sell well in every State, except Iowa be unaffected ease. It is not necessary to engage
a teacher for the sake of being told to sing the
and Minnesota.
The "Forest Echoes," by Louis Meyer, is by far scale, or a combination of tones forming a melody,
the best of the instrumental numbers. The "an- but how, in v)hat w&y, to use. the voice satisfactorily,
dante tranquillo," which opens the piece, reminds is the special duty of the teacher to advise.
me vividly of a South German Volkslied, the name It cannot be done by following perverted tra-
ditional rules, by which the simplicity and ease of
of which we cannot at this moment remember
Of the vocal compositions sent to us, the lullaby natural singing are lost; but that there is a method
"Baby Sleep, Softly Sleep," has been before the of developing the voice without exertion, has been
public for some time. The others—"Let Me Be proven by exercises which are so simple that no
Near Thee," "My Love's a Little Fisher Maid," fatigue is experienced even after prolonged prac-
"My Heart's Dearest Home,"—are all acceptable tice. I claim no new or original ideas, but have
found that with a knowledge ©f certain principles,
songs.
Messrs. North & Co. also send an installment of mathematically applied, the resources of the
CORRESPONDENCE
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