Classic Mode

Music Trade Review

Issue: 1882 Vol. 5 N. 20

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
May 2oth, 1882.
THE MUSICAL CRITIC AND TRADE REVIEW.
Miss Annie Louise Cary and Signor Antonio F.
Galassi.
(1797-1848)
Aria, "Ah, non giunge" (La Sonnamlmla) ..Bellini
(1802-1835)
Mme. Etelka Gerster.
Romanza, "Eri tu" (Un Ballo in Maschera)..Verdi
(1814)
Signor Antonio F. Galassi.
The concert was essentially popular in its char-
acter, many of the numbers being familiar to
the audience, which was in a most cheerful and
enthusiastic mood during the afternoon, with the
exception of the time when Cherubini's "Les
Deux Journees" was performed, which seemed to
tire the majority of listeners.
There was nothing remarkable done during the
performance, with the possible
exception of the
"William Tell" overtui - e, the success of whieh
was so pronounced that the finale was repeated.
The orchestra did some remarkable work again,
although the technical difficulties during the per-
formances preceding this concert made it suffi-
ciently evident that any difficulties in the Italian
line could easily be overcome.
Miss Cary made her first appearance during this
concert, and was received with great favor.
Campanini, who seems to have arranged this
concert, was in his element. The numbers which
he sang, or in which h ously applauded, although his voice was covered
and husky. In fact, during the Festival Cam-
pauini could not distinguish himself, as his voice
was not in condition, and on several occasions he
was positively ignorant of his score.
Mine. Gei*sler, Miss Cary, and Signor Galassi
were at home with the music allotted to them.
The other artists sang correctly, but not with
any particular enthusiasism. In its entirety, this
concert, although a pleasant entertainment to the
audience, did not effect its purpose in giving any
comprehensive lesson in the chronological devel-
opment of the music of the Italians. Most of the
examples were too meagre, and others again did
not represent any special development.
SEVENTH
AND
LAST CONCERT-SATURDAY
NIGHT.
MODERN WORKS.
r
T^HE programme selected for the closing night
J_ was peculiarly arranged, in so far as it placed
Rubinstein, with a short aria from "Der Damon,'!
between Liszt's "Dante" symphony and Berlioz's
"Fall of Troy," Act II., the arrangement being as
follows:
PABT I.
Dante Symphony
Scena, "The Demon"
Mme. Gerster.
Liszt
Rubinstein
PART II.
The Fall of Troy, Act II
Berlioz
Chorus, "The Meistersinger"
Wagner
It would have been better to dispense with the
aria entirely, as it is not one of Rubinstein's repre-
sentative pieces, and secondly, Mme. Gerster
could not have expected great results from it in
the large hall.
Moreover, it was performed in a distorted man-
ner. The Liszt Symphony consisted of three
movements, "Inferno," "Purgatorio," and "Mag-
nificat."
A few remarks i-. reference to this attempt to
depict all that is hideous in the imagination,
with the aid of instrumental effects and wierd
melodies and unpleasant harmonies, which we
append, are taken from an English journal, and
are very apropos:
Liszt's "Dante" symphony was written a quarter
of a century ago, and not even his stoutest cham-
pion, Mr. Walterd^ache, has hitherto dared to offer
it to the English public. The scene 1 of the opening
section of this precious "symphony ' is laid in "In-
ferno." We need a musical thermometer to appre-
ciate it. Leaving behind us the gateway at which
hope is abandoned, we are introduced to the hideous
cacophony through which theologians of the Abbe
Liszt school believe they have to pass before they
attain eternal bliss. We are assured, on the indis-
putable authority of Herr Pohl, that Liszt aims to
depict not only the mental and physical writhings,
but the "occupation, 1 of disembodied souls in hell.
The thermometer naturally rises as the movement
progresses, until at the "second subject" we arrive
at a place which my old friend and collaborates,
"Dod Grile," would describe as "Furnace No. 11,208
—unknown heat." Here the thermometer, it is sup-
posed, bursts; while r'rancesca da Rimini and her
co-respondent float through the air on the wings of a
cool blast, typified by the harp. A breath of pure
air must be as welcome in Hades as the Francisca
episode is in Liszt's "Inferno." But anon the ther-
mometer is repaired; Beelzebub and Liszt pile on
the musical fuel; and the audience are made to ap-
pre iate some, at least, of the tortures of the damn-
ed. And this is what Dr. Fohl recommends in or-
der to give us "that faint, indefinable reverence lor,
and longing after, things eternal."
This is a complete argument, in a few well-di-
rected expressions, against the laborious effort
Liszt made in this instance to write a symphony.
There is no question that Liszt is a most re-
markable musician. Some of his piano composi-
tions are brilliant, and contain new and original
ideas in reference to the technical effect that can
be secured in piano playing.
Some of his arrangements of the arias and melo-
dies of the great composers, and some of his par-
aphrases constructed from their works, must be
credited with being excellent examples of pian-
ism, as it is now aptly termed. Yet, whenever
Liszt enters the field of instrumentation on a
large scale, he incurs great risks, on account of
his poverty in the varied qualities which
comprise a successful author of symphonies.
He lacks originality; melody in its pure form is
an unknown quantity with him; his harmonies
are outre, and his instrumentation is replete with
plagiarisms. In addition to all this, he is an
aggregation of the most violent prejudices in art,
the drama, literature, and religion; and a mind
constructed on such a basis can never create great
things in art.
The symphony was received in silence, and it
was a relief when its last notes had died away.
Berlioz was not treated properly. The "Fall of
Troy" was very indifferently performed. It is a
powerful dramatic-musical work, which demands
punctilious adherence to Berlioz's well-defined
rules in order to make it a success.
First of all, however, the parts must be well re-
hearsed and thoroughly studied. Again, as on
former occasions during the festival, it was the
instrumental performance only which was satis-
far tor ily done.
The choruses were weak and uncertain, and the
soloists, with the exception of Materna, again
failed to do justice to their parts.
Campanini, as jEneas, sang the descriptive aria
on the death of the Lnocoov very indifferently,
and could not be heard any distance from the
stage.
In fact, the whole performance of the "Fall of
Troy" was incomplete, and failed to make the im-
pression its merits call for. ;
The concert closed with Wagner's chorus from
the third act of the "Meistersinger."
I
317
T IS high time now to cease talking about the
festival. ~* For months and months I heard
nothing but festival gossip, until I became
thoroughly tired out before it came off, and sorry
to say was not able to recuperate during its pro-
gress.
Matters of great pith and moment must now
occupy the minds of the artists, and if they con-
tinue to give the festival any more attention, they
will not be able to attend to the very important
business I refer to—that is, the selection of a sum-
mer resort where they can spend their easy-earned
salaries and emoluments.
Joseffy told me he had secured, or was about
securing, a place, I think, up the river.
" I want to be able to practice during the sum-
mer, and enlarge my repertoire, and smoke my
cigar with ease and comfort," he said. Two good
companions to smoke a cigar with.
But all artists are not as lucky or as capa-
ble of making large salaries, or smoking such
good cigars, as Joseffy.
Some of them go off to Newport; others see
their friends in the country, and still others con-
template the majesty of the ocean from the beach
at Coney Island.
But there is a large stay-at-home army which will
be found during the three coming months anywhere
but at the seashore or on the mountains.
Some of them that belong to this army are
economical and anxious to save their earnings for
a future day, and others again have more tangible
MECHANICAL MUSIC.
r
~T^HE Black Forest is famous for these mechani- reasons for remaining here, or at home, wherever
_L cal organs—orchestrions, as they are called— that may be.
and in some instances they are brought to great
* *
perfection. There is a shop close to the exhibi-
That reminds me of a remark I overheard the
tion, bearing the name of Lamy Sohne, full of
clocks and singing-birds and orchestrions, where other day.
you may pass half an hour in a fairyland of sur-
I spoke to a manager about Brignoli, who was
prises and all kinds of mechanical music.
One morning I went in with an old lady and then coming down Broadway.
Says the manager:' 'There goes a man who should
gentleman—the latter a grave dignitary of the
Church of England. "A very tiring place," said be worth half a million dollars. He has been
the old lady; "all up and down hill; the only getting large pay constantly for over thirty-five
fault I rind with the Black Forests. Couldn't
they level it, my dear?"—to her husband—"or years,—some years his income being as high as
build viaducts or something? Or at the very thirty thousand dollars, if not more."
least, couldn't they organize pony chaises all over
"How much do you think he is worth?" I asked.
the country—like those, you know, that we found
"Oh, comparatively very little."
so useful at Bournemouth last year?"
This is not strange. Brignoli was known as
"Take a chair, my love," said the old gentle-
man sympathetically, without committing himself quite liberal, especially to himself. Other artists
to an opinion. And he placed one for her, while again are very saving, and carefully preserve
the young man in the shop (whose jolly, good- their stores of earthly goods.
natured face and broad grin delighted one to be-
Jenny Lind has always been considered a shin-
hold) wound up the orchestrion.
The old lady sat down somewhat heavily from ing example of this kind. She retired with a
sheer exhauston, and immediately the chair struck large competency. So did Clara Louise Kellogg
up the lively air of "The Watch on the Rhine," —that is, if she has retired.
with a decidedly martial influence upon the occu-
Among the artists now before the public who
pant. She sprang from her seat as if it had been
a gridiron, and asked her husband reproachfully are not spendthrifts, I can mention Remenyi, who,
if he was amusiug himself at her expense, and although enjoying himself, does so rationally, and
whether her age was not sufficient to secure her saves considerable money. He does not care for
from practical joking.
sea breezes or mountain air; he plays all the year
"Dear me!" cried he, in amazement, looking at
the offending chair as though he expected it to round, and knows nothing but one continuous
walk away of its own accord. "What a musical season.
nation these Black Foresters are! It's music
Henrietta Beebe, they say, is an artist that
everywhere! The very chairs you sit down upon knows how to save her money, and I am sure that
are full of it."
At this moment the orchestrion struck up a se- little Letitia Fritch is as shrewd about dollars and
lection from "Don Giovanni," and the old lady re- cents as any of them.
covered her amiability in listening to a really
One of the most successful investors in good
splendid instrument. I left them still enjoying it, securities is Annie Louise Cary, whose wealth iB
marveling at all the birds and boxes, and thinking
each one more wonderful than another.—The considerable, and whose independence is thus as-
sured.
Argosy,
318
Music Trade Review
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20th, 1882.
THE
CRITIC AND TRADE
REVIEW.
Do not suppose that I have been consulted by away," which, luckily, did not reach Materna's
these artists regarding their wealth, or the manner ars; otherwise a scene might have followed.
in which their money is invested. I know as lit- What is the use of getting jealous, ladies?
tle about the real condition of these affairs as a Each one is great in her particular field. You
Wall-street broker knows about the real condition must not compare a trombone to a flute, yet both
of Jay Gould. But I take general reports and are musical instruments, and both may be good,
sift them, and often pay attention to individual or may be bad. Still, a comparison can result
cases, and thus reach my conclusion.
only in a contrast. I am afraid Gerster has a
There would be a larger number of wealthy good deal of jealousy in her composition.
artists if their business affairs were under the
control of competent management.
I wonder if she will come here again? Young
There is a striking instance of this kind of mis- Edgar Strakosch, who thinks a great deal of her,
management now going on. It is the case of should organize a concert company, and take her
young Michael Banner, the boy violinist, a phe- to cities where she jhas not yet been heard. He
could make a good round sum, which I know he
nomenon in the musical world.
Young, ambitious, and gifted by nature with in- would not refuse.
Edgar is one of the very best young men in the
tense musical feeling, he has had, in Jacobson of
Cincinnati, one of the most aeeomplished teach- musical line to-day; a perfect gentleman, and as
ers that could have been secured. His perform- keen and shrewd in his views as his uncle, Mau-
rice, the Thursby-ite.
ances are marvelous, as far as they go.
There must be a limit to the abilities of the Let us hope his career will be successful. I ex-
greatest musical genius as long as the intellect is pect to meet him at Coney Island this summer.
NICHTSNTJTZ
limited in its development. This Banner boy has
had comparatively no intellectual development,
PA&ANINI IN LONDON.
and his musical education is also in an embryonic TTJAGANINI'S London experiences were exces-
state.
JL sively remunerative: 200,000f. he mentions
Nevertheless, his performances are marvelous, as the sum he cleared by his concerts there; and
and indicate how great he could become if prop- there is a story that when William IV. on one oc-
casion offered him half the sum he had asked,
erly managed. Proper management with Banner namely,
£50 instead of £100, for a special per-
signifies, first of all, seclusion for three or four years formance before the Court, Paganini haughtily re-
under an able master, during which time much plied, "I consider no one has the right to dictate
care must be taken of his physical training also. my priees to me."
Se advantageous was Paganini's English tour,
Then the young man could come before the mu- and
so busy was he, that he apparently found no
sical world, and, judging from present appearances, time to write to Germi till Jan. 15, 1832, when he
dated the following letter from Manchester: "The
he would astonish the cognoscenti.
The present management is ruinous to Master diabolical enthusiasm which my instrument has
produced in the concerts I have given has deter-
Banner's future; it should be stopped at once.
minded me to give sit mere next week. I shall
Mistakes, just like this, often destroy the best then make a tour through some other towns, and
return to London by Feb. 20 next, on my way to
opportunities, which can never be retrieved.
Even a more developed genius than Banner, Paris, to embrace my dear Achille, who is doing
and is im excellent hands. When once I get
namely, Dengremont, was shamefully misman- well,
hold of him again, I shall not part with him, for
aged in this country.
he is my great joy. As you advise, I shall soon
It has become simply a question of manage- require a year or two of repose to cure myself of
ailments which produce melancholy. The elec-
ment.
which arises from my tragic muse pains me
There is to-day a great violinist traveling through tricity
terribly, but when I get home and am near you
Europe, and producing the greatest sensation wher- for a time I shall add years to my life. On leav-
ever he performs. He is the celebrated Spanish ing London for Ireland, what a lot of concerts I
gave, commencing with the festival at Dublin,
violinist, Pablo de Sarasate.
then in other cities in Ireland, Scotland, and
He was here in 1872, and could net secure a and
here in England. Sixty-five concerts, commenc-
successful engagement on account of mismanage- ing on Aug. 30, 1831, and ending on Jan. 14, 1832!
ment. He was not properly presented, and mad Remember, I was ill for six weeks, and gave no
no public impression, because he remained un- concerts—so the sixty-five concerts I gave in the
space of three months, passing through thirty
known.
cities, accompanied by four people on horseback,
The manager is the man who gives the artist the and with the singer, Signora Petrola. I have a
chance either to rusticate during the summer season certain Cianchettini with me, who plays the cym-
or remain at home and suffer the agonies of 100 bals; a secretary, a very prepossessing young
Englishman, who travels before me to arrange for
degrees in the shade.
my concerts; also a stupid fellow who acts as por-
Take away the manager, and the artist is all ter, and a good domestic. I hired a splendid
at sea. With few exceptions, artists mismanage carriage in London. You can form no idea of the
exorbitant expenses necessary for this tour; but I
themselves.
Wilhelmj did, as well as many others. The con- will tell you some of them by and by, and of the
astonishing customs existing in this country.
sequence of this experience is a greater demand Those who have not traveled therein cannot have
for competent men to assume managerial duties. been properly educated. If I had come to Lon-
don 12 years ago, I could easily have made a for-
* * *
tune; but now one cannot, owing to the poverty
Referring to managers reminds me of Freddy which every one experiences. Now, they do not ask
Schwab and his trouble with the festival commit- you if you have heard PagaDini, but if you have
tee. He got ahead of the whole committee, judg- seen him. To tell the truth, I regret to say that
ing from what I hear; and as he controls Materna, there is an opinion prevalent throughout all
classes that I have a devil on my back. The pa-
I suppose he will make as much money out of pers
speak too much of my figure, which creates
her engagements as he could possibly have an- an incredible curiosity. To-morrow I go to
ticipated.
Leeds, and shall give a concert on Tuesday even-
The festival advertised her, and her concerts ing; on Friday and Saturday I shall give other
at Manchester; Monday, and the 23d,
will be crowded. If he planned this little affair concerts
24th, 25th, at Birmingham; 30th, a concert at
he must be put down as a pretty shrewd fellow. Chester; and then in three er four more cities,
There is no use in tearing his character all to where there are musical students. I hope to
pieces until the true inwardness of the transaction reach London on the 20th of the following
is fully known; then, and then only, can a proper month."—Fraser's Magazine.
judgment be passed upon the merits of the case.
Mile. Caroline Brun, the singer, who con-
tributed so much to the success of the "Damna-
V
tion de Faust," at the Colonne Concerts, Paris,
Materna made Gerster very jealous, I under- has been engaged to sing during the summer at
stand, and Gerster could not help betraying it. the Cercle d l'Athenee, Toulouse, and the Casino
Then she made a remark or two that "gave her at Boulogne.
STAFF CORRESPONDENCE
CHICAGO.
CHICAGO, May
r
7.
HE interest at present manifested in the ap-
proaching Music Festival is all-pervading,
and the accounts of the music feast that has
been served for the delectation of New Yorkers
have been eagerly read.
It adds greatly to our anticipation to reflect
upon the good things you have been having, and
to realize that ere long all this bliss is to be ours,
none the worse, and perhaps even better, for being
second-hand, so to speak.
The arrangements at the Exposition Building
are going along finely. The acoustics of the hall
are excellent, and the seating arrangements all
that could be desired.
The first rehearsal in the building was held on
Friday evening last, and the chorus work done
was very satisfactory, speaking highly for the
work done by Mr. Tomlins and the progress made
by his forces.
When the Thomas Orchestra gave its summer
concerts in the Exposition Building, much annoy-
ance was experienced by the occasional and not
infrequent passing of locomotives on the adjacent
Illinois Central Railroad.
This nuisance would sdmetimes render a soft pas-
sage perfectly inaudible, and Wagner's "Centennial
March" was the only composition that could com-
pete with the engines with the least approach to
success.
Then the electric lights at the rehearsal Friday
evening—they kept up a buzzing and a sputtering
that was anything but agreeable.
If the obligates furnished by these two ex-
tremely useful adjuncts to modern civilization,
steam and electricity, are not moderated to a
proper pianissimo, Heaven help the unfortunate
soloists and strengthen their vocal powers, or they
will be drowned out completely.
Mr. Milward Adams is the enterprising and effi-
cient business manager of the May Festival here,
and he is working it for all it is worth; for in his
mind's eye he sees a seething mass of struggling
humanity clamorous for admission to the Exposi-
tion Building, and shekels galore pouring into the
Festival coffers.
If the concerts are not a big financial success, it
will not be the fault of the genial Milward.
The advertising arrangements are thorough and
effective, and the printing very handsome. The
programmes—well, they would fill a page of THE
MUSICAL CRITIC AND TRADE REVIEW, SO I will for-
bear "springing them on you."
I believe we are to have the same soloists that
have appeared in the New York Festival, with the
exceptions of Mme. Gerster and Signor Galassi.
The good-natured and eminently Teutonic vis-
age of Frau Materna is omnipresent in the form
of photographs, lithographs, and other styles of
counterfeit presentments. The sale of season
tickets begins to-morrow, and a rush is anticipated.
BRIGNOLI
was in town last week, and his presence was the
cause, direct or indirect, of the only musical
events of the week. He succeeded in stirring up
the semi-dormant Mozart Society to the extent
that a sort of cooperation was effected between the
tenor and the club, which was expected to redound
to their mutual benefit. The consequences were a
Brignoli Testimonial on Thursday evening, and a
Mozart Society Concert on Friday evening.
'The testimonial was the more pleasing concert
of the two, and the audience should have been
larger. Many opera goers of by-gone days were
noticed in the audience, and it is understood that
the sale of seats was much larger than was repre-
sented in the house.
Old folks turned out on Thursday evening who
remembered the veteran tenor in his prime, and
had not heard him in many years, despite his
frequent appearances here.
It was curious to watch their expectant looks as
the Signor rolled upon the stage with his familiar
stride, and it would have been more curious to
have read the memories that his voice recalled.
I'll warrant that it invoked the ghost of many a
love forgotten or gone to dust and ashes years ago.
Brignoli was in excellent voice. He seemed
rejuvenated and inspired by the occasion, and he
himself declared that he had not sung so well in
ten years. He sang STappari, from "Martha;"
Sullivan's "Once Again," in a duet with Miss
Fannie Kellogg, and in the "Martha" Spinning
Wheel Quartette.
I wish I could have arrived on this mundane
sphere in time to hear Brignoli when he was at
the height of his greatness. He must have had a
tone like velvet. But he had commenced to fail

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