Classic Mode

Music Trade Review

Issue: 1882 Vol. 5 N. 23

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THE
CRITIC AND TRADE
REVIEW.
372 Music Trade Review
YON BULOW'S PROTEST-—Von Biilow has written
an article in the AUgemeine Deutsche Musik Zeitung,
in which he protests against the " fungus like
growth of conservatories of music, which during
the last fifteen years have shot up all over Ger-
many." He avers that these institutions have pro-
duced conceited composers and many pianists who
subsequently become failures, and then join the
army of piano teachers. Von Biilow hit the nail
on the head in this article. There are hundreds
of graduates turned out every year that imagine
themselves to be great musicians, and yet we
never hear of them after graduation.
they whispered the pp notes, spoke the mf notes,
and screamed the ff notes.
This is one of the reasons why so many excellent
points in operas and operettes are totally lost.
Inferior parts are treated in an inferior manner,
but out of all proportion to the intentions of the
composers.
I was agreeably surprised with Laura Joyce's
rendition of Lady Jane. Her voice, singing, act-
ing, and tasteful and correct appearance, with
the many original points she brings out through-
out the piece, make her one of the attractive per-
sonages on the Bijou stage.
To my surprise, I found young Charles Wernig
directing the performance. I remember Charley
when he was young enough to be called Charley
by strangers, and I still adhere to the name on the
ground of old acquaintance.
He was always close student and tried to push
ahead.
I am delighted to see that at last he conducts,
and if he will add some energy and care to the
minor points to his work in the conductor's chair,
he will be sure to get ahead in this world of music.
* *
There being very little to do outside of the city,
nearly all the managers and agents can be found
in the evening at the opera houses.
Edgar Strakosch is about considerably, with his
ears and eyes open, watching everything, and
talking about musical matters with the confidence
of a veteran.
There is a big future for this young manager in
store.
His name is known better than that of any mu-
sical manager in the country, having been identi-
fied, through his uncles, Maurice and Max, with
some of the greatest musical events we have ever
had on this side of the Atlantic, and if he goes
along with caution and the exercise of discretion,
there is no reason why he should not succeed.
Some of the mistakes made by the elder Stra-
kosches will also be of value to him, as he knows
their causes, and he can avoid them in his own
undertakings.
I do not know whether he is going to start out
on his own account, but he should try anyhow.
"VTEVER was I more surprised than on my first
J L \ visit to Koster & Bial's Concert Hall the
FTER much preliminary announcement, and other evening to hear the Hungarian Band play.
evidently after much rehearsing, Strauss's
merry opera was produced at the Germania Thea- It was not the style, nor the rhythmic changes,
tre on June 27. It was supposed that a cast had nor the peculiar phrasing of the music that sur-
been carefully selected, but subsequent events prised me—it was the tone, the absolute tone-vol-
proved that much room for improvement was lett. ume which these natural musicians produced.
The cast was the following:
I could not at first believe that fourteen players,
Violetta,
Miss Dora Wiley
Umberto Spinola, .
. . Mr. W. T. Carleton performing only on strings and a few wooden wind
Artemesia,
Miss Belle Cole instruments, could produce a volume of tone equal
Marquis Filippo Sabastiana, . Mr. Eichard Golding to that of at least thirty ordinary performers; but
Balthassar Groot,
Mr. Adolfl
Elsa,
Miss Louise Paullin it was nevertheless so.
The reputation which the opera gained during These Hungarians are naturally gifted with in-
the Thalia "run" made it probable that the ven- tense and passionate musical feeling, and when
ture in English would pay, and there is no doubt they perform, either individually or in a body,
that if as much attention had been paid to the these peculiarities are the first that attract our at-
selection of soloists as was paid to ensemble, chorus tention.
and orchestra especially, and to scenic effects, that
a very enjoyable performance would have taken One does not care much for merely technical
place.
playing, or a strict traditional interpretation
The deficiencies of the soloists were confined to of musical compositions that are familiar to us,
three roles especially—-Miss Dora Wiley as Violetlat while listening to the interpretation which these
Mr. W. T. Carleton as Umberto, and Mr. Richard
Golding as the Marquis. The trouble with Miss people give to the same.
Wiley was the absence of tone in her singing; she A peculiar charm pervades their playing, and all
could not be heard, except in a few forzando pas- the liberty they take with such an overture, for
sages, beyond the first dozen benches from the instance, as Rossini's "William Tell," is excused,
stage. Whether this was due to her uncer-
tainty in reference to the score or text, or not, we because their own interpretation has the spice of
cannot say, but we remember many occasions originality.
when this lady sang more difficult music more We cannot criticise them from the ordinary
effectively and much better than she sang in the
"Merry War," and we are compelled to attribute point of view. They are entirely outside of it.
The performance pleased me so much that
her deficiency this time to a temporary cause.
Mr. Carleton is always greatly lacking in one I determined to hear them as often as I possibly
respect, without which no song, especially in Eng- could.
lish opera, can be made a success,—and that is,
enunciation. We never know what he is singing,
whether it is the text of Grosvenor, or Claude
* *
Duval, or Pippo; and he might, for all practical The trouble with me is, that I have not the time,
purposes, sing the words of most any song, for there being so many musical performances which
Young Grau, who is now the advance agent of
not one phrase is thoroughly enunciated.
I must necessarily attend, although I often wish I the Carreno Concert Company, is an active young
He is an excellent baritone singer, especially in
fellow. He understands the business and is will-
roles with which he has lately identified himself, were not compelled to do so.
and his singing often contributes much to the suc- The other evening at the Bijou Opera House I ing to learn. He is another one of those who can
cess of a night's performance; but he must learn made it a point to observe closely how the young make a success as a manager if he keeps cool and
how to enunciate—how to make his text clear—and ladies sang, especially those singing secondary collected.
also get rid of stiffness in the joints—to make an roles.
If they have a little talk every day for an hour
unequivocal success.
Mr. Richard Golden is a successful low come- Everybody, of course, listens to those singers or so with Alfred Joell, he can give them a history
dian, without any voice or musical accomplish- that fill the chief roles, but the girls that sing, for of a quarter of a century in the managerial busi-
ment. His abilities in his legitimate line made instance, Lady Angela, Lady Saphir, and Lady Ella, ness.
him an attractive Rocco, in the "Mascotte." in "Patience," are passed by with only a "group- A better posted manager than he is cannot be
How he could have aspired to a role in which
found in this country, and as he has always been
music and a higher grade of comedy are the essen- ed" notice.
tial elements, we fail to understand, especially if
I am going to give them a "grouped" notice an observer, he has gathered stores of knowledge
he ever looked at his musical score, which we myself now, because each of the three is afflicted and practical information on the subject.
doubt. It does not follow that a successful Rocco, with the same trouble.
Managing concerts or operas is an art in itself,
who must not necessarily sing, can consequently
become a successful Marquis in the "Merry War," Not one of them understood how to breathe in and a most difficult one to attain.
who has much and at times difficult passages to singing—the very first law in vocalism was an There are intricate and delicate knots to unravel,
sing. The gist of the matter is that Mr. Golden unknown quality with them.
points to be made, peculiar language to be used
ruined one of the most attractive roles of the
Then I found that the knowledge of emitting in announcements and advertisements.
opera.
The chorus was excellent—the best we have ever sound from the mouth cavity was also unknown Judgment in reference to works, artists, the
manner of production, etc., is requisite, and if
heard in that class of opera. The orchestra, under to them.
the direction of the efficient and painstaking With these two deficiencies counteracting many one of these elements is missing, the risk of fail-
Catenhusen, demonstrated how much attention advantages, it would be impossible to sing cor- lure is imminent.
this part of an opera deserves, and how well it
Managers must exercise as much care as a vocal-
pays to make the orchestra that prominent feature rectly under any circumstances.
The mouths of two of the ladies were closed ist exercises to protect his voice.
which every composer now-a-days intends it to be.
The scenic effects were very elaborate and even in forte passages, and the positions of their And this reminds me that a rumor has been
effective, while the ballet added much to the heads and chests prevented a free passage of air gaining ground lately that Annie Louise Cary ham
evening's enjoyment. Miss Belle Cole as Arteme-
lost her voice.
sia, Miss Louise Paullin as Elsa, and especially through the throat.
Mr. Adolfi as Balthassar, were the successful so- All this would be bad enough, but I am sorry to It seems that the affliction is permanent, instead
loists.
say that their musical education must have been of a mere passing cold.
Had all of the soloists been as able as these three, sadly neglected when they did not evince the If the rumor is true, it will be a serious loss to
one of the most successful operette performances faintest idea of phrasing the different parts of the the art, especially in this country.
would have been recorded. With the improve-
The music festivals that took place last Spring
ments this review suggests, the "Merry War" can song.
have a long "run."
To reduce it to a plain statement, I will say that felt the absence of Miss Cary's exquisite singing
"THE MERKY WAB."
A
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
July 5th, 1882.
and great experience, and it is not going too far
to assert that for the present her place cannot
easily be filled by any of the other contraltos.
Besides her excellent artistic instincts, she has
always been a refined lady, and all her actions
have been characterized by the most delicate senti-
ments of the highest type of womanhood.
I should be happy if I could say the same about
every one of our female singers, but many of them,
even when above reproach, commit indiscretions
that subject them to criticism.
Mrs. E. Aline Osgood, for instance, cannot
blame the world for entertaining peculiar notions
about her. She does not live with her husband,
the doctor; she does not assign any plausible
reasons for becoming a voluntary "straw" widow,
and now, while spending some weeks with friends
in Garden City, Minnesota, she is having a hand-
some monument erected to the memory of her first
husband, Mr. George W. Evans.
That is pleasant news, as far as it goes; but it
does not go far.
The world, of course, can have no objections if
a lady is going to spend money to have a hand-
some monument erected on the grave of a first
husband, while the second husband is living, and
a third husband is a possibility.
The young man who has been paying her atten-
tions may take a look around the tombstone fac-
tories in Boston, where he is said to reside; he
may find a neat stone that would fit the grave of
the second husband, when he gets ready to depart
hence.
All the experiences of the past do not seem to
prevent these ladies from being highly indiscreet,
and often publicly so; and I have noticed that
when they see this kind of news in print about
themselves they become highly indignant over the
news, while their own acts have furnished the
material for it.
The postoffice and the telegraph bring informa-
tion very rapidly and readily before the public,
and the only way to prevent it from being un-
pleasant is to be pleasant and do pleasant things.
It is the same with gentlemen in the profession.
Some one was telling me the other day that he
saw Gustavus Hall on the corner of Fourteenth
street and Fourth avenue late in the evening in a
loud and excited controversy with a lady, and that
language was used which was more forcible than
elegant.
From what I hear, Gustavus must have been
very indiscreet, and when he hears that this is
known, instead of being angry at his own action
and his own words, he will be angry because the
fact is known.
But it could not be known if the act had not
been committed.
Innocent persons are often maligned. There is
no doubt of that, yet in the course of time their own
actions will disprove almost any report dictated
by malice, or perhaps an error.
As I remarked before, there is no escape from
such reports, especially if they are true.
I hope for the good of the profession that each
one will strive to improve its morale.
NICHTSNUTZ
TRUSTWORTHY AND READABLE.
r
I ''HE
373
THE MUSICAL CRITIC AND TRADE REVIEW.
MUSICAL CRITIC AND TRACK KEVIEW, the
_L organ of the musicians and the music trades, i
now in the fourth year of its existence, and wa
never brighter nor more interesting than it is to
day. Its criticisms, reviews, editorials, and special
articles are trustworthy and readable, and its opin
ions are widely copied and endorsed by the leadin^
musical journals of Europe. A glance at the advef
tising columns of the issue of June 5, just out, wll
show the substantial recognition accorded to it
New features will be added from time to time, an
110 paius will be spared to make it the jeading mu
sical journal of America. — N- Y. Church Union.
layed the "Gazelle," by Hoffmann, acquitted
erself well, as did the lady who played two
[elections from Kullach. The "Musette," by
feiffer, and "Variations." by Richards, were then
•endered, and the duet from "Crispino e la Co-
mare" was sung. An interesting feature of the
ntertainment was the playing of Miss H. Piec-
zonka on the violoncello. She is the first lady
pupil who has made sufficient progress at the
Grand Conservatory of Music upon that instru-
ment to appear before an audience. The enter-
ainment was brought to a close by the trio from
Attila."
AT HOME.
Wilhelmj was in New Zealand in May, and it is
aid that he intended to return to San Franoisco.
The Grau Company, including Fanny Kellogg
and Signor Brignoli, gave a concert at the Horti-
cultural Gardens, Toronto, Ont., June 26.
Haverly's Comic Opera Troupe has been singing
at the Sans Souci Garden, Providence, R. I., the
past week, in "The Mascot."
The Boston (Mass.) Theatre is to open for a
Summer season July 8, with the Boston Miniature
Opera Company, a new organization training for
some time past under the tutelage of Mr. John J.
Braham, one of Boston's best directors of light
ipera.
Bemenyi played at the Alcazar on Sunday, June
15.
Henry Wolfsohn's management of the miusical
mtertainments at Baum's Pavilion, Chicago, has
been very successful thus far.
Mr. Joseph Greensfelder, the basso singer, has
returned to New York after a successful operatic
tour in the West and South.
Catenhusen at the Germania Theatre is an accom-
plished director. His work and Adolfi's singing
and excellent acting made the "Merry War" a
success.
The Carreno Concert Company, consisting of
Mad. Teresa Carreno, Mile. Pauline Rossini, Sig-
nor Tagliapietra, and Louis Blumenberg, violon-
cellist, have just finished a tournee in New York
State with extraordinary success. Mr. Edward
Clayburgh is manager, and Mr. J. Grau is the
advance agent of the troupe. The company will
ive concerts in the summer resorts during the
months of July and August.
The New York College of Music, of which Mr.
Louis Alexander is the capable director, will be
losed from July 1 to September 1.
The Litta Concert Company closed the season at
Rockford, 111., on June 23. Miss Nellie Bangs, of
hicago, was the pianist.
Ford's Opera Company brought out "Manola"
at Uhrig's Cave Garden, St. Louis, a week ago,
which was largely attended every night. Miss
Marie Bockel took the title rule and sang and
acted it charmingly. Geo. W. Denhain appeared
as Prime-Minister Calabazas, W. H. Fitzgerald as
the Baron, Chas. F. Lang as Miguel, Miss May
Stembler as Beatrix, and Sam Reed as Don de
Gomez. This opera has proved so attractive that
it was given every night the following week.
The Conservatory of Music of the State Normal
School, Edinboro, Pa., has been in working order
some ten years. It had a brisk run up to '81, and
three years previous to that date. During that time
hey had one Prof. Moore in charge, and the Spring
of '81 found the school with only fourteen music
students. Principal Emory P. Russell took charge
in August last. The Fall term opened with thirty-
seven students. The Winter term increased to
forty-two, and now there are fifty students, and a
good Fall term to come. Mr. Russell has been
re-engaged for next year. His assistants are Mra.
Jennie M. Russell and Miss Auna Bishop. The
atter teach the piano, and Mr. Russell teaches
voice culture, theory, and principles. On June
22 the commencement exercises took place, with
six graduates in music. There are thirteen prac-
tice rooms for piano and organ, and the grounds
are laid out tastefully. The State Normal School
has about three hundred students, and the faculty
numbers nine professors, besides the principal.
There was an interesting reception of the choir
of the First Baptist Church of this city on June
22. The choir was ably assisted by several ladies
and gentlemen. The solos were sung by these
pupils of Mr. W. H. Pratt: Miss Josie Macpher-
son, soprano; Miss S. F. Willits, soprano; Miss
!arrie Martin, mezzo-soprano; Miss Bella M. Mar-
tin, contralto; Mr. W. T. Hargrave, tenor; Mr.
George Heather, basso; and Mrs. W. H. Pratt,
lontralto; Miss Jennie P. Pratt, accompanist.
Following was the programme: March, from sym-
phony "Lenore," Raff, piano, Miss Pratt and Mr.
Pratt; part songs, (a)Oh, Hush Thee, (i)Evening,
Sullivan,—trio, Queen of the Night, Smart, Miss
Willits, Mrs. Pratt, Mr. Heather; song of the
Page, from "Les Hugueuots," Meyerbeer, Miss
Macpherson; recitation, "King Robert of Sicily,"
Longfellow, Mr. John Gatchell; Spinning Chorus,
for women's voices, from "The Flying Dutch-
man," Wagner; cantata, Spring and Love, Greger,
Miss Willits, Mr. Hargrave, chorus, and piano;
song, The Friar of Orders Grey, Reeve, Mr.
Heather; duet, My Home Stands Afar, Rubinstein,
Mis3 Carrie Martin and Miss Bella Martin; part
song, for male voices, "Lovely Night," Chatwal;
ong, My Heart's in the Highlands, Schumann,
Mrs. Pratt; finale, March, from "Athalie," Men-
delssohn, piano, Miss Pratt and Mr. Pratt.
ABROAD.
"Die Kce'nigin von Galconda" (The Queen of
Golconda), a new operetta, is reported as having
aohieved a great success at the Victoria Theatre,
Berlin.
Mile. Theo, of the Parisian Opera Bouffe, has
signed a contract for sixty performances in this
country with Maurice Grau. The sixty perform-
ances must be given withiu two months, as she
has subsequent engagements. Her first appear-
Mr. Nahan Franko is in Saratoga, where he is ance will take place on September 11, at the new
engaged in directing the orchestra at one of the Casino, when she will opeu with "Mme. L'Arche-
duo." The repertoire consists, in addition to this,
hotels.
of "Niniche," "Le Grand Casimer," "Mascotte,"
Mr. George W. Morgan, assisted by his daughter "Timbol d'Argeut," and "La Jolie Parfumeuse."
and Mme. Cora de Wilhorst, gave a concert on
June 23 at Montclair, N. J. The audience was
r
large and fashionable.
T^HE MUSICAL CRITIC AND TRADE REVIEW, June
J. 5 to June 20. Some of the special features of
Levy, the cornetist, will play at Brighton Beach this
issue are: A handsomo full-page supplement,
this Summer. His receipts in Memphis and Louis containing
portraits of Conly and Rietzel, who
ville for four weeks and one day were $5,131.75 were drowned
near Brattleboro, Vt.; and distrib-
His receipts in Cincinnati were $800 in two days. uted through the
paper are attractive pictures of
Mrs. M. D. Savage has opened music rooms a W. T. Carleton and Dora Wiley, the Pippo and
No. 280 Elizabeth street, corner Houston street, Mascotte of the Germania Theatre, New York; Lil-
New York city, and will give instruction on the lian Russell, the Bijou Patience; and in the Trade
Department, a picture of Rufus Blake, Manager
piano and organ at reasonable rates.
of the Sterling Organ Company. There are also
The eighty-fourth entertainment of the Grand full and entertaining reports of the Chicago and
Conservatory of Music took place on June 17. Cincinnati Music Festivals; a lively review of
The programme contained twenty numbers, which Richard Grant White's Century article on New
were well rendered. Carl Roeder played th< York opera; Nichsnutz Notes, a racy commentary
"Spinnlied," by Mendelssohn, from memory. Hi on current musical topics; reminiscences of Conly
is only nine years old. His playing was altogethe and Rietzel, and Max Maretzek's frank opinion
remarkable. He gave as an encore the "Pasen- about the Cincinnati College of Music.—Albany
terre," by A. Pieczonka. The young lady wht Sunday Press.

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