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THE MUSICAL CRITIC AND TRADE REVIEW.
April 5th, I£§2.
Scena ed aria, "E Dunque Ver," op.
It requires steady co-operation on the part of a
58
Rubinstein
body of singers for more than a season or two
Mme. Gerster.
before such a stupendous work can be redeemed
"The Fall of Troy".
Berlioz
from obscure phrasing and the incoherency result-
Frau Friedrich-Materna
Mrs. Osgood, Miss
ing from want of precision.
NEW YORK CHORUS SOCIETY.
Winant, Signor Campanini, Mr. Toedt, Signor
The quartette was at times very uneven and sang
SECOND
CONCERT.
Galassi, Mr. Remmertz, Mr. Whitney.
without ensemble.
HE following highly interesting programme
Chorus, "Die Meistersinger," third act.. .Wagner
Taken all in all, the two concerts of the soci-
was performed at the second public rehearsal
The modern schools are well represented on the on March 24, and the second concert on March 25: ety, considering the many difficulties to overcome,
Symphony in B minor (unfinished), No. 8, Schu- offered the best evidences that such an organiza-
closing night.
bert; Canzona. "Voi che Sapete," Le Nozze di tion can become permanent and sucessful in this
Figaro, Mozart, Miss Cary. Scenes from "Alceste," city.
ENGLISH JOURNALISM.
Gluck, Mr. Henschel, Mr3. Osgood, Miss Cary,
r
I ^HE following letter is printed in the London chorus and orchestra. A supplementary movement
SACRED CONCERT AT THE ACADEMY.
to the "Ocean Symphony" (new), Rubinstein ; Scenes "T^HE "Grand Sacred and Miscellaneous Concert"
JL Musical World of March 4, 1882:
from
"Benvenuto
Cellini,"
Berlioz,
Mr.
Toedt,
Miss
To the Editor of the Musical World:
X at the Academy of Music on Sunday, March 26,
DEAR SIR—In your issue of December 31, 1881, I Cary and male chorus. Kyrie, Gloria, "Missa
find an article from your New York correspondent Solennis," op. 123, Beethoven, Mrs. Osgood, Miss was in no sense a brilliant event, although the per-
criticizing my way of doing business this season, Cary, Mr. Toedt, Mr. Henschel, chorus, organ and formance of sacred music did not prevent it from
being termed "brilliant."
and, at the same time, reflecting on the reputation orchestra.
of the artists of my company. It is evident from
The few sacred numbers were not heard, and we
The special chorus features of the concert were
the article in question that your correspondent is the scenes from Gluck's "Alceste" and the do not know which are the "Miscellaneous."
either wilfully malicious or has been misinformed. "Kyrie" and ''Gloria" from Beethoven's "Missa
The "Leonora Overture, No. 3," "Se il rigor,"
My company consists of some of the best artists
from "La Juive;"the "Tannhauser"Romanza; "Ah
Solennis."
known on tfie Italian stage, amongst whom I may
The instrumental number which proved to be fors E lui;" "Qui Sduego;" "De Quella Pira;" the
mention Mile. Leslino, Mme. Prasini, Signori
Giannini, Lazzarini, Perugini, Ciapini, Sweet, Man- one of the most prominent during the perform- "Jeveuxbriser,"from the "CrownDiamonds;" "Sei
cini, and Carboni; with all of whom Mme. Gerster ance was Rubinstein's "Storm" movement of the Vendicato"from "Dinorah;" "L'ArditaWaltz;" the
has expressed herself perfectly satisfied, and all of Ocean Symphony—a supplementary movement of serenade from "Don Giovanni;" the "Flor de'Mar-
gherita;" the "Chi un frena," and the overture
whom have been accepted by the New Orleans pub- said symphony.
lic, one of the most fastidious in America.
Schubert's unfinished symphony was not per- "La Gazza Ladra" are not very sacred musical
I pay them as good salaries as any manager in formed with care and the necessary attention; the compositions, although it could be proven that
the world is willing to give them—salaries for which allegro seemed to have been hurried, and the there is something miscellaneous about the combi-
they themselves have stipulated, and which by no andante on the other hand was treated with nation of such a programme.
means are what your correspondent sees fit to call
The vocal artists of the Mapleson company
starvation prices. I have never played, nor will languor.
The figures were not pronounced, and the theme should try to study a few songs that are not oper-
play, opera in barns, but always give my perform-
ances in the best theatres obtainable, and my pri es in the andante only dragged itself through its atic, in order to be in readiness for a concert.
We hear the opera airs in the opera, and outside
of admission range from three to fifty dollars—the various positions.
usual prices charged in this country for Italian
Miss Cary sang the "Voi che Sapete" from of opera there should be concert songs rendered,
opera. Finally, I give seven performances a week, Mozart's "Figaro." There was nothing especially of which there are a thousand excellent ones.
and not four only, as your correspondent also er- to commend in her singing of this aria.
roneously remarks.
Later on in the concert Miss Cary proved her-
MOZART MUSICAL UNION.
You will therefore observe that your correspond- self to be what her most ardent admirers claim
ent has grossly abused me and my company, and I for her. Her voice, her method, and the intelli- "V^OUNG amateur musicians generally have the
would beg you that, in justice to myself and to them, gence which she applied to her work stamp her JL praiseworthy ambition of spending portions
you would kindly publish this letter, and oblige
of their evenings in musical recreation, and they
as an artist of rare accomplishments.
yours truly,
MAX STRAKOSCH.
If she did not succeed in making an impression frequently organize associations for the purpose of
NEW ORLBANS, LA., February 8, 1882.
with the "Voi che Sapete," it may have been due performing easy orchestral works.
The Mozart Musical Union is probably the
The great trouble with the majority of the cor- to the impossibility of her being inspired by a
respondents here of European musical journals is, song which she has sung hundreds of times, and largest of this class of musical organizations in
that they are not recognized, and consequently have which is pretty in itself, but not overburdened this city.
It gave an entertainment at Clarendon Hall on
no means of ascertaining facts. Guessing the with poetic quality.
news is not a safe journalistic method, and this
One of the numbers on the programme which March 20, which was very largely attended, and
correspondent was probably guessing.
impressed itself as a valuable work, and for the the orchestra of sixty performers, under the di-
production of which thanks are due to Mr. rection of Prof. Fancuilli, performed many popu-
Thomas, was the nine 'Scenes from Alceste," for lar compositions.
AN ORGAN WALTZ,
solo, chorus and orchestra.
PHILADELPHIA, March 25, 1382.
It is only at long intervals that we are afforded
THE MORGAN OEGAN AND HARP RECITALS.
Editor of THE MUSICAL CRITIC AND TRADE REVIEW : the pleasure of hearing a composition of Gluck /WHICKERING HALL was filled to repletion on
SIR—Your musical critic, who kindly reviewed my rendered in a complete manner. His works are
pieces so favorably and with so much leniency as to comparatively unknown, because unheard, and it V_y March 23 by a very attentive audience that
their possible shortcomings, has, nevertheless, is only when an organization like the New York was gathered to listen to the fourth recital.
Some exception must be taken to the peculiar
made a remark evidently from a wrong standpoint. Chorus Society undertakes the production that
In speaking of the Adirondack's Waltz, he says, such a composition can be heard under proper taste displayed by Mr. Morgan, who performed a
"which has the advantage of being composed for
Saint-Siiens rhapsodie on Breton melodies, Bach's
piano or organ, although why a waliz should ever be auspices.
fugue, in D major, and at the same concert an ar-
The
choruses
were
very
vigorous
and
sure
in
performed on an organ we cannot divine."
rangement
of Gounod's "Funeral March of a
Has your critic never heard a dance or march attack, singing with confidence. All this must Marionette."
played on that eesthetic instrument, the accordeon? have been the result of an extraordinary amount
How he can reconcile such an arrangement of
And what is a cabinet organ but an enlarged and of rehearsing.
must bo left to himself; but we are
improved accordeon?
The solos were sung by Mrs. Osgood, Miss Cary compositions,
Yours truly,
Louis MEYER.
and Mr. Henschel. Miss Osgood's voice lacked obliged to take exception to it, as already stated.
"Everything in its place and a place for every-
[There are a great many persons constantly strength and her phrasing was deficient; there thing," is a good old maxim, and Mr. Morgan
was
an
absence
of
appreciation
noticeable,
and
al-
playing upon musical instruments of various
should not forget that at an organ recital, where
kinds who do not understand for what especial though she endeavored to sing the recitatives with Bach and Saint-Siiens's works are performed, the
freedom,
she
was
hampered
either
by
unfamiliar-
purposes they are adapted.
comedy is not in place.
Mr. Louis Meyer knows perfectly well that an ity with the score or want of proper appreciation.
Miss Maud Morgan performed the harp solos
Mr. Henschel evinced a thorough familiarity with
organ was never made for the the purpose of play-
much taste and with elegance.
ing dance waltzes upon, and if an amateur player with his work, but on the other hand he was
Mme. Cora de Wilhorst, whose voice is far be-
apon that "aesthetic instrument," the accordeon, suffering from a trouble in his throat or a defi- yond its prime, but whose method is truly artistic,
performs a waltz, that is no reason why a good ciency in his method—it is difficult to say which. sang the Polacca from "II Puritana."
The supplementary movement to Rubinstein's
musician, like Mr. Meyer, should cater to such
Another recital took place on March 30.
"Ocean Symphony" is a remarkable descriptive
taste and write a waltz for piano or organ.
composition
in
which
all
the
most
intricate
instru-
If, as he states, a cabinet organ is but an en-
MR. RICHARD ARNOLD'S CONCERT.
larged and improved accordeon, Mr. Meyer should mental effects are profusely developed. The effort
not do anything that will tend to degrade the to give in tone a portrayal of a storm is eminently
NE of our most cultivated local musicians is
successful,
while
at
the
same
time
a
strict
adher-
sphere of the former and bring its compositions
Mr. Richard Arnold, the violinist, to whose
into the scope of accordeon compositions.—ED. ence to forms is maintained.
The original distribution of effects on the efforts much of the success of the New York Phil-
MUSICAL CRITIC AND TRADE REVIEW.]
strings is a very attractive feature of the compo- harmonic Club, of which he is first violinist, is
due.
sition.
His annual concert took place at Chickering
A PANIC AVERTED.
The performance was the best of the orchestral
Hall on March 28, at which he played Vieuxtemp's
rT^HE Patti operatic season in Boston opened suc- performance on this occasion.
Another attractive number on the programme "Slavonic Airs," and the first violin parts of two
J. cessf ully on March 20 in the large hall of the
Charitable Mechanics' Association, in Huntington was the "Scenes" from "Benvenuto Cellini," the movements from Raff's Quartette, op. 192, No. 7;
avenue. There were present about 5,500 people. duo being sung by Mrs. Osgood and Mr. Toedt, the Rubinstein Octette, op. 9, and two short quar-
Just as the curtain was lowered at the end of the and the air by Miss Cary, together with a chorus. tette numbers by Wuerst and Spindler.
Mr. Arnold played with more than his usual
The duo was not sung with any spirit or ani-
first act, it caught fire from the footlights, and
was quickly consumed. Employes prevented the mation, and both Mrs. Osgood and Mr. Toedt were skill, and with more animation than at any of the
concerts in which he participated during the
fire from spreading. A few hundred started from unacquainted with the intentions of the work.
The chorus was excellent. Had it been so in season.
their seats and began to create confusion, when
He was assisted by the Philharmonic Club, Miss
two newspaper men arose and shouted "Sitdown! the Beethoven "Kyrie" and "Gloria" there might
sit down! there is n© danger." This had the de- have been a fitting close to an excellent concert, Emma S. Howe, soprano, and Madame Madeline
sired effect, and nothing occurred t@ mar the re- but the complications of the "Missa Solennis" Schiller, pianiste. Also Mr. H. Kayser, clarionet,
and Mr. C. Pieper, horn.
were too great for a comparatively new chorus.
mainder of the performance.
PERFORMANCES
T
O
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