Classic Mode

Music Trade Review

Issue: 1882 Vol. 5 N. 17

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
YOL. Y.
NEW YOEK, APKIL 5TH, 1882.
**-'
THE ONLY TRUE CONFESSIONS
—OF
A—
MUSICAL JOURNALIST.
BY
JACOB C. F E
D.
No. m.
MY
FAVORITE THEOBY IN REGARD TO CREDITORS
— T H E POTENT INFLUENCE OF UNSUBSTAN-
TIAL " T A F F Y " — W H O WBOTE THE
FIRST JOSEFFY CRITICISM?
DED not furnish for your last is-
sue my regular installment of my
only true confessions, which I am de-
lighted to be informed are attracting
great attention, as I have been trying
to quiet my numerous creditors, for a
time at least. Such people are gener-
ally scum, and I detest them, for they
do not seem to appreciate the fact that
I am paying them an immense compli-
ment in owing them at all. Common
tradespeople, as a rule, know their
place much better in England than in
America, though I must say that I
know to my cost that when a man has
made a pretty heavy run upon them
there, they take up the matter in earn-
est, and make it so deucedly unpleas-
ant for him that he is glad enough to
get away from the country and never
return to it. A man who imposes upon
people in England, and is found out,
cannot go into hiding for a year or two,
and then turn up again as smilingly as
ever to work the very same people a
second time.
I have a favorite theory with regard
to creditors in America, and I find that
it works very well.
Make your creditors bolster you up,
is my motto. Please them with the
idea that if they trust you again, they
will be amply repaid. To show how
confiding people are here, and how well
this is understood by a sharp man, you
«
have only to take up the case of young
Gray, the forger. You will remember
that some years ago he got into a very
bad scrape in Wall street, and caught
some people pretty badly, and yet some
months since he boldly made his appearance in
New York, took offices, and started a bogus elec-
tric light company, using, without authority, the
names of several prominent men as supporters of
his scheme. However, the New York Tribune got
after him, and showed up his plans before he had
time to do much harm. I must say, I think he
went a little too far, for New York bankers and
brokers, at any rate, are a little careful about get-
ting bitten a second time.
Of course, as I intended to establish myself
once more in New York, I was obliged to arrange
matters with my creditors so that they would not
trouble me, and by bestowing upon them a liberal
supply of "taffy," instead of cash, I have succeeded
in fixing some of them.
They are at present living in hope.
Hope is a big thing.
Having staved off some of my creditors, I am
ready again to continue my "Only True Confes-
sions."
I noticed in your last issue that you made up
for my "Confessions" by printing a conversation
which some of your people had with Mr. A. C.
Wheeler concerning an individual the initial
letters of whose name are the same as mine. It
made interesting reading, and I should have
thought the subject of the conversation would have
hidden his face for very shame after he had read it.
I
MISS CLARA LOUISE KELLOGG.
But perhaps you will tell me that this individual's
cheek is so large that he cannot entirely hide his
face.
I believe I was telling you in my last "Confes-
sion" how I could make a great show in a musical
paper with nothing at the bottom of it. Now let
me tell you how I would conduct such a paper in
my present conditiea, after having shown to people
very plainly my vulture-like nature.
In the first place, I would play the martyr. I
would weep, and snivel, and claim that every man
with whom I had associated had done me
grievous wrong.
No. 17
It would be a very good trick, in the case of men
who knew my character thoroughly, and who did
not hesitate to speak of me as I deserved, to claim
that they were base ingrates whom I had raised up
from a condition of abject misery, and who were
only rewarding me by the foulest abuse. This
might have a great effect upon some people who
did not understand my capacity far lying, and who
did not remember that I have been one of the
most abusive fellows that ever put pen on paper.
Why, only to mention one or two instances: I
have called the late Albert Weber a liar in print,
and I am sure that Mr. Joseph P. Hale has
cause to remember the abuse I showered upon
him.
Now, as I owe a number of people in the music
trada for advertising, paid for in ad-
vance, though I suspended the publi-
cation of my paper before I had fulfill-
ed their contracts, I would place their
advertisements in my new paper free of
charge, and then make as much capital
as possible out of the fact that so much
of my advertising space had been taken
up, leading the reader to suppose that
it was ready cash in my pocket, instead
of being an old score, and one not at
all to my credit, that I was working off.
I might devote two pages out of three
to such virtually gratuitous advertis-
ing. Besides the show I could make,
it would give me a fine opportunity to
say, if the trick were discovered,
"Why, I do this because I am an hon-
est man. I am simply carrying out
my honorable instincts."
Of course, I don't mind saying to
you that this is nonsense. You would
not for an instant think that I would
do all this for nothing if I did not
know that upon it depended my only
chance, and a slim one, of getting any
money from my duped advertisers in
the future.
Having arranged my advertising de-
, partment with this display of financial
/
and business ability, I would next pro-
- 1 ' ( ' ceed to develop the literary part of my
paper on the plan that I have already
spoken of in my last issue. A plan very
similar to the one alluded to by Mr. A.
C. Wheeler, when he told in THE MUSI-
CAL CRITIC AND TRADE REVIEW of that
blessed man Freund's way of making a
speculative paper. And here, let me
say, that one of the most effective ways
of "spurting" a musical paper from time to time is
to add new departments to it. The first thing to be
done in this line is, of course, the dramatic depart-
ment, and the time that I should naturally choose
for adding the dramatic department would be
about the first of May, when all the theatres were
closing for their summer vacations.
The brilliancy of this idea will immediately com
mend itself to your most careless reader.
Great as is the demand, on the part of the
American public, for new musical papers, there is
one ardent yearning that surpasses it, and that is
the desire for new dramatic papers.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
April 5 th, 1882.
THE MUSICAL CRITIC AND TRADE REVIEW.
G. R.— "Say, whieh one of those fellows up
there is Carl Schurz? I see on this paper he is
president of this society. Is he not out of politics
yet?"
A. C. (Blushing)—"Carl Schurz is president of
this society, but that has nothing to do with this
concert directly. He is a musician, however, be-
ing an excellent pianist."
G. R.—"Say, my wife plays the piano in an inci-
dental way; she likes to sing music too. (With
animation) Say, did you ever hear George Smith
sing tenor; he is the best I ever did hear. He
sings way high up and down low."
A. C.—(During a piano passage in the "Alceste"
chorus)—"Sh! sh! sh!"
G. R.—"What instrument does Theodore Thomas
play? That's him up there with the stick, ain't
it?"
A. C.—"He formerly played the violin very ele-
gantly. I do not know whether he plays now."
G. R.—"This Beethoven (accent on the penult)
must be a fine musician?"
A. C. (Evidently embarrassed)—"He is dead."
G. R.—"How these smart men die so ioon.
There is Fred. Staples, a lawyer, who won a case
for me. He was just another one of these smart
men, and an accident happened to him on the
railroad. Soon after that he got sick from pneu-
monia, or something like it, and died. He was
only four years at the bar, and they were going to
send him to the Legislature."
A. C. (Decidedly uneasy)—"Oh, yes."
G. R. (After a pause)—"What is this 1, 2, 3
stand here for?" (referring to opus 123, Bee-
thoven's "Missa Solennis.")
A. C. (With a troubled expression)—"That sig-
nifies the number of the work. Opus is work,
and this is Beethoven's 123d work."
G. R. (Stupefied, but not unconscious, then sud-
denly)—"Did you see in the papers that Miss Cary
is going to get married to James Gordon Bennett,
the editor of the New York Herald? I saw it."
A. C. (Nearly exhausted from suppressed agita-
tion)—"I'll tell you all about it when we get
down stairs."
G. R. (Excitedly)—"Honestly, I read it on the
train coming to New York. The papers said all
about it; how old she was, and all about his race-
horses; and that they were going to live in New
York, and that she is going to go off the stage.
Say, you ought to read it. I have the paper in my
valise."
A. O. (Drops his programme, working his way
out)—"I must get another programme."
G. R. (Pulls him back)—"Hold up, here's
one."
A. C. drops into his seat with pale face and
ghastly features; whispers something in his com-
panion's ear, and silence takes possession of both
for the remainder of the concert.
: . ;i .
',.••(•- •
>'
NlCHTSNUTZ.
A BRIGHT SPANISH MONTHLY.
" T A AMERICA MUSICAL," a musical
1 J monthly in the Spanish language, pub-
lished in this city by Dr. Jose Godoy, has come
to hand, and its general appearance, the character
of its articles, and the interesting news it con-
tains make it a contemporary we will be happy to
exchange with.
The many Spanish speaking people of this
country who, as a general thing, are ardent ad-
mirers of music and show a great interest in
musical events, will now have an organ that can
give them all the information in the mother
tongue.
There is no reason why La America Musical
should not succeed.
Mme. Krauss, in return for her co-operation in
the performance at the Grand Opera, Paris, for
the victims by the calamity at the Ring Theatre,
has been created an Imperial Chamber-Singer to
the Emperor of Austria.
Hans von Billow recently gave a "pianoforte
eTening" in Breslau.
THE MAY FESTIVAL.
r
I ^HE architect, builder and carpenters have
J_ taken possession of the Seventh Regiment Ar-
mory, and in a few weeks the stage and seats will
be in order, and the tests for the sounding board,
which is to be placed in the hall, will begin.
The subscriptions and sales guarantee a com-
plete financial success for the coming festival.
In addition to the local choruses the following
singing societies will participate: The Handel and
Haydn Society of Boston ; the Worcester County
Musical Association ; the Cecilian Society of Phila-
delphia; the Oratorio Society of Baltimore, and the
Singing Society of Reading, Pa.
There will be in the aggregate 3,200 singers and
an orchestra of 300, distributed in the following
manner:
50 First Violins.
2 Contra Bassoons.
50 Second Violins.
8 Horns.
36 Violas.
8 Saxhorns.
36 Violoncellos.
6 Cornets.
40 Double Basses.
4 Trumpets.
6 Harps.
1 Bass Trumpet.
6 Flutes.
0 Tenor Trombones.
2 Piccolos.
2 Bass Trombones.
6 Oboes.
2 Tabors.
2 English Horns.
4 Kettle Drums.
6 Clarionets.
2 Bass Drums.
2 Basset Horns.
2 Small Drums.
2 Bass Clarionets.
2 Cymbals.
6 Bassoons.
1 Triangle.
263
Missa Solennis, D major, op. 123—Frau Fried-
rich-Materna.
f Frau Friedrich-Materna,
Kyrie J Miss Cary,
Gloria. | Signor Campanini,
[ Signor Galassi.
Mrs. Osgood,
Credo
Miss Winant,
Sanctus. Mr. Candidus,
Mr. Henschel.
Frau Friedrich-Materna,
Miss Cary,
Agnus Dei. | Signor Campanini,
( Mr. Whitney.
The Beethoven night will become memorable,
provided the choruses are satisfactory. There is
no doubt that the Fifth Symphony will be ren-
dered superbly.
THURSDAY, MAY 4
SECOND MATINEE—WAGNER PRO-
GRAMME.
"DAS RHEINGOLD."
1. Prelude and scene before Walhall. 2. Frag-
ment; Loge's tidings. 3. Grand closing scene.
DRAMATIS PERSONS.
Woglinde
Wellgunde
Flosshilde
Alberich
Wotan
Miss Hattie Schell
Miss Amalia Wurmb
.*. . Miss Antonia Henne
Mr. Oscar Steins
Mr. Franz Remmertz
"DIE WALKURE. "
300
Prelude—First act
Siegmund's Love Song
Ride of the Valkyries
Wotan's Farewell j
, r . T-,. o
>
Magic Fire Scene \
Orchestra
The soloists thus far engaged are Mme. Amalia
Mr Candidus
Materna, Mme. Gerster, Miss Annie Louise Cary,
Orchestra
Mrs. E. A. Osgood, Miss Emily Winant, Miss
„ n i
o .
Hattie Schell, Miss Antonia Henne, Miss Amalia
Signor Galassi
Wurmb, Signor Campanini, Herr William Candi-
s
dus, Mr. T. J. Toedt, Mr. George Henschel,
"SIEGFRIED."
Signor Galassi, Mr. Myron Whitney, Mr. Franz The Wedding of the
Sword—Final Scene—First
Remmertz, and Mr. Oscar Steins; organist, Mr.
Act.
Dudley Buck.
Siegfried
Signor Campanini
There will be no material changes in the follow- Mime
Mr. Toedt
ing programme:
"DIE GOTTERDAMMERUNG."
Siegfried's death
Orchestra
TUESDAY, MAY 2—FIRST EVENING CONCERT.
Brunnhide, Frau Friederich-Materna
Cantata, "A Stronghold Sure"
Bach Finale
This matinee will be the first occasion when
Chorus,"A Stronghold Sure our God Remains."
Recitative, bass,"Consider Then"... .Mr.Whitney Wagner's later compositions will be heard to any
advantage.
Chorus, "If All the World."
Recitative, tenor, "Then Close Beside,"
FRIDAY, MAY 5—THIRD EVENING CONCERT.
Mr. Candidus
Oratorio,
"Israel in Egypt."
Choral, "That Word Shall Still in Strength Abide."
Mrs. Osgood, Miss Schell, Miss Cary, Mr. Can-
Symphony in C (Jupiter)
Mozart
didus, Mr. Remmertz, Mr. Whitney.
1. Allegro vivace.
Chorus, orchestra, organ.
2. Andante cantabile.
3. Minuet (allegretto).
SATURDAY, MAY 6—THIRD MATINEE.
4. Finale (allegro molto).
Sonata
Arcangelo Corelli (1653-1713)
Recitative and aria, "Abscheulicher" ("Fidelio"),
String orchestra.
Beethoven Aria di Chiesa. . .Alessandro Stradella (1645-1678)
Frau Friedrich-Materna.
Miss Winant.
Minuet
Luigi Boccherini (1740-1806)
INTERMISSION.
String orchestra.
Jubilate "Utrecht"
Handel
"II Martimonio Segreto".... Domenico Cimarosa
Miss Cary, Mr. Toedt, Mr. Henschel.
(1754-1801)
Chorus, Orchestra, Organ.
Aria, "Pria che spunti spiriti in ciel l'Aurora.
This first concert introduces Mme. Materna. It
Signor Campanini.
is especially arranged for chorus work.
"Les Deux Journees"
Luigi Cherubin
WEDNESDAY, MAY 3—FIRST MATINEE.
(1760-1842)
"Iphigenia in Aulis"
Gluck
Overture.
Finale first act.
(a) Overture, orchestra.
(b) Scene 1—"Diane Impitoyable."
Mrs. Osgood, Miss Cary, Mr. Candidus, Mr.
Toedt, Mr. Henschel, Mr. Remmertz.
Signor Galassi.
Gasparo Spontini (1784-1851)
Symphony in C, No. 9
Schubert "La Vestale"
Andante—allegro ma non troppe.
(a) Overture.
Andante con mote.
(bj Scenes from Act II.
Mme. Gerster, Miss Cary, Signor Campanini.
Scherzo (allegro vivace).
Finale (allegro vivace).
INTERMISSION.
Aria,' 'Magic Flute"
Mozart
"Guglielmo
Tell"...
.Gioachimo Antonio Rossini
Mme. Gerster.
(1792-1868)
INTERMISSION.
(a) Overture.
(b) Terzetto.
Overture,"Manfred"
.Schumann
Mr. Candidus, Mr. Remmertz, Mr. Whitney.
Scene and aria ("Jessonda")
Spohr
"La Favorita"
Gaitano-Donizetti (1797-1848)
Mr. Henschel.
Miss Cary.
Scene and aria, "Ocean, thou mighty monster"
"La Somnambula"
finale
Vicenzio Bellini
("Oberon"),
(1802 1835)
Frau Friedrich-Materna.
Mme. Gerster.
Aria, "Vainement Pharaoh" ("Joseph")... .Mehul
"Vespri Siciliani"
Giuseppe Verdi (1814)
Signor Campanini.
Signor Galassi.
Overture, "Buy Bias".
Mendelssohn
Antonio Bazzini (1818)
If Materna is in voice, her singing of Weber's Overture "Re Lear"
scene and aria will produce a profound impres-
The matinee programme illustrates the history
sion.
of Italian music.
The programme is a most peculiar one, but very
SATURDAY, MAY (5—FOURTH EVENING CONCERT.
interesting.
A
symphony
to Dante's Divina Commedia... Liszt
WEDNESDAY, MAY 3—SECOND EVENING CONCERT—
I. Inferno. II. Purgatorio; Magnificat.
BEETHOVEN NIGHT.
Grand orchestra chorus for women's voices and
Symphony in C minor (No. 5, op. 67).
organ.

Download Page 3: PDF File | Image

Download Page 4 PDF File | Image

Future scanning projects are planned by the International Arcade Museum Library (IAML).

Pro Tip: You can flip pages on the issue easily by using the left and right arrow keys on your keyboard.