Music Trade Review

Issue: 1898 Vol. 26 N. 23

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
MAX HEINRICH.
Among the em-
inent baritone and
"lieder" singers of
our time, Max Hein-
rich takes a h i g h
place. His voice is
pure,
sonorous,
splendidly
cultiva-
ted, refined in ex-
pression, and capable
of
dignified
and
dramatic e f f e c t s .
His interpretations
are always marked
by high intelligence
and much a r t i s t i c
taste. He is a man
of strong individual-
ity and at once at-
tracts notice whether
in oratorio, festivals
or recitals. His re-
pertoire is extensive.
Mr. Heinrich will be
heard at a number of
prominent a f f a i r s
during the summer
and fall. We pre-
sent herewith an ex-
cellent portrait of
Mr. Heinrich.
EM1L PAUR IN NEW YORK.
The choice of Emil Paur as conductor of
the New York Philharmonic Orchestra has
occasioned considerable comment, in view
of the fact that he is known to be a strict
disciplinarian and a tireless worker.
Considering the well-known characteris-
tics of the Philharmonic Orchestra, a
writer in the World considers that P^mil
Paur is hardly the man for the place. As
the intimates of Seidl know, the conductor
of that orchestra cannot exercise any def-
inite authority. One or two promotions
and one transfer is the sum total of what
Seidl was able to do in the way of better-
ing the personnel of the band; and he was
the leader for many years. He—the con-
ductor— cannot even make up the pro-
grams. The committee attends ^to that.
He cannot prescribe the number of re-
hearsals nor the duration of each. The
committee decides one of these questions;
the Musical Union fixes the other. Poor
Seidl had often been compelled to undergo
the humiliation of his players leaving their
desks in the middle of a phrase.
How will Paur stand this? In his case,
he will face audiences that are not his
henchmen and disposed to favor him.
The work of the Boston players and that
f i&ao i
All our Instruments contain the full iron frame and
patent tuning pin. The greatest invention in the history
ot piano making. Any radical changes in the climate, heat
or dampness, cannot affect the standing in tone of our in-
struments, and therefore challenge tha world that otu*
frill excel any other
of his new men will be contrasted, and he
will suffer by comparison. The arrange-
ment is an experiment pure and simple,
and its outcome cannot be prophesied.
One thing, however, if Mr. Paur can
stimulate the Philharmonic Society and
elevate its artistic standing in face of the
facts enumerated he will have earned a
niche in the temple of fame. Meanwhile
may good luck attend him.
As the critical columns of the daily
papers have recorded, the Paur of 1898 is
not the Paur of 1893. In all truth it may
be said that while Gericke and Nikisch
made the Boston Symphony Orchestra,
the Boston Symphony Orchestra made
Emil Paur. At first Paur was a cold,
unsympathetic and prosaic leader.
He
thought, but did not feel. He was tradi-
tional, carefiil, conventional.
He fol-
lowed literally the signs in the score. No
one could tell how Paur thought the work
ought to be played, but it was plain to
everyone that Paur was trying to show
that he knew the way most people played
the opus.
Everything was calculated.
Nothing was inspired.
Such was the
Paur of 1893.
This year the musician seemed to have
been transformed.
His readings were
broad, virile, free, vibrant with emotional
life (just what was lacking in his interpre-
tations five years ago). There was noth-
ing left of the bigotry of tradition, of the
timid adherence to established methods
which spoke plainly of a lack of self-con-
fidence. The great orchestra under him
had worked his artistic salvation.
*
Teresa Carreno has been engaged for a
number of important recitals in London,
this season.
VITTORIO DA PRATO
In this age of progress, with broaden-
ing influences on every side, we hear much
of those who are gifted musically. Mean-
while musical knowledge is not alone the
key to eminence—there must be soul cul-
ture as well as musical culture to make
one great and successful in his artistic
sphere.
It is a common thing to hear of this
and that prodigy, but they fade away into
obscurity and are never heard of again.
There are others, however, who are heard
and who continue to be heard.
They
have a mission—they have prepared them-
selves for this purpose—they become the
great and successful artists.
In the latter class we would place Vit-
torio da Prato whose portrait appears on
the front page of The Review. Musically
talented, from his earliest years he has
given his whole time and study to the
perfection of his art—to solving and master-
ing its mysteries. To-day in the verge of
manhood he claims especial notice by
virtue of his marked ability as one of our
rising young violin virtuosos.
Mr. da Prato is a New Yorker by birth,
having been born in this city Nov. 9th,
1878. From his earliest years he evinced
a liking for the violin, and studied for
many years with Clifford Schmidt, con-
certmeister under Seidl. For two years
ending 1898 he traveled with a distin-
guished concert company under the
direction of Julian Jordan,, through New
England and Canada.
He was then
hailed as an artist of exceptional ability,
as the following notices testify:
" Vittorio da Prato, who is a youth of seventeen,
was a favorite of the audience. His performances on
the violin were characterized by a softness and ex-
pression rarely obtained from that instrument except
by the hand of a master, such as Paganini or Ole
Bull. With time and care this young violinist will
make his mark in the musical world."—The North-
ern Advance, Barrie, Ont.
"Young da Prato has fine musical talent. He
played with fine execution and expression the first
movement from De Beriot's violin Concerto No. 7,
an andante, scherzo, Capriccioso by David, and a
Mazourka by Wieniawaski."—Newark, N. J. Call.
"Vittorio da Prato proved himself a master of
that beautiful instrument, the violin, and fairly held
the audience spellbound."—Times, Orillia, Ont.
" He handled the bow with the skill of a master."
—Worcester, Mass., Telegram.
"Vittorio da Prato, the violinist, though still a
boy, possesses wonderful talent. He played for his
first piece, the seventh Concerto by De Beriot, for
his second a Mazourka by Musen. His tone is good,
and his playinu shows no lack of freedom. He gave
the greatest satisfaction."—St. Johns, P. Q., News.
Notwithstanding Mr. da Prato's success
so apparent from the above notices, he
felt that he desired a greater perfection in
his art, and in 1894 left for Europe, where
he has spent the past four years studying
under Eugene Ysaye, the great master,
who was immediately attracted to da
Prato on account of his exceptional tal-
ents. So rapid was his progress as the
pupil of Ysaye, that after the first year he
made his public appearance in Brussels
under the most favorable auspices, win-
ning the praise of his teachers and the
critics. His programs embraced the most
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
difficult compositions, and he surprised all
by his technique and developed musical
comprehension.
The following notices
selected at random from a number of
flattering appreciations will be found in-
teresting.
'' da Prato made his debut here after his pheno-
menal success in Germany, playing the concertos of
Edouard Lalo and the Scotch Fantasie of Max
Bruch. His adagio playing is marked by a beauti-
ful tone, while his allegro movements are taken at
such a rate as to make your hair stand on end. The
young fellow is certainly a genius." — Le Soir.
" The soloist was young da Prato, who performed
with great virtuosity the fifth concerto of Vieuxtemps
and the variations in E minor of Joseph Joachim.
da Prato is not merely a virtuoso, but also an artist
musician."—Guide Musical.
of Watkin Mills is familiar to the frequent-
ers of the Wimbledon course, while that
genial giant, Dr. Alan Gray, the organist
of Trinity College, Cambridge, may often
be seen towering over his ball on the links
at Brancaster, and Edward Lloyd has re-
cently succumbed to acute bunkeritis.
Norman Salmond and Plunket Greene are
also devotees of golf.
Vittorio da Prato has just returned from
Europe and will start on a tour of the
United States about Oct. ist, making his
first appearance in New York around the
end of January, probably at the Waldorf-
Astoria. He will be under the manage-
ment of Julian Jordan.
*
MUSICIANS AT PLAY.
Mr. Bispham is a dauntless cyclist, says
the Daily Graphic, we have seen him ca-
reering through the most crowded London
thoroughfares on the very same day on
which he appeared in one of his finest rdtes
—that of Kurwenal, in "Tristan and Is-
olde. " Signor Foli is passionately fond of
fishing. Kennerley Rumf ord keeps up his
cricket, and Ben Davies is an ardent dis-
ciple of Sandow. We are, in short, con-
fronted on every side by robust and ath-
letic musicians. Of all pastimes, how-
ever, none appeals more strongly to the
modern musician than the royal and an-
cient game of golf. The stalwart figure
culture, painting and drawing.
The
director, lone B. Crockett, is an artist in
the most exacting sense of the word, and
is splendidly fitted for inculcating those
attributes which refine and elevate. Her
ideas on artistic posing and deportment
are admirable and her undoubted genius
in many lines is best demonstrated by the
wide patronage which is extended the
school which she controls.
A very delightful affair was the musicale
given by the pupils of the Stump-Crockett
School at the home of Mr. and Mrs. Col-
lins, 9018 Erie Avenue, Chicago, the early
part of the month. Mrs. Collins is a
patron of the school and her children are
remarkably promising pupils. The par-
lors were beautifully decorated and the
program met with the keenest approval of
the fashionable assemblage. The com-
bination of music, flowers and pictures
made an ensemble which delighted all.
*
A Norwegian festival of 500 voices under
the direction of the celebrated composer,
Edward Grieg, will take place in Bergen,
from the twenty-seventh of June, until
the third of July. Norwegian works only
will form the program.
*
IONE B. CROCKETT.
One of Chicago's art institutions which
is steadily enlarging its sphere of influence
is the Stump-Crockett School of Fine
Arts, located at 301 W. 63d Street. In
this school superior advantages are af-
forded for instruction in music, vocal
The Ladies' Home Journal, of Philadel-
phia, offers a prize of $25 for the best
children's song, with $15 each for the next
best three. A competition has also been
arranged for an original piano solo of the
style known as piece de salon. The prize
offered is $50. The competitions are
open until July ist.
By EDWARD
LYMAN
BILL
Those who delight in Military Tales and History blended with romance will take pleasure in
reading this novel.
XLhc 5worfc> of tbc
" I have perused with more intense satisfaction 'THE SWORD OF THE PYRAMIDS,' than any work
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IS
General James R. O'Beirne, that famous =i] in treating the subject and describing military movements and great engagements. To a soldier who
••
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II veteran and distinguished citizen
soldier or veteran who will peruse its most interesting and rhetorically described scenes will put it
1
regard
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aside without a sense of great satisfaction and pleasure.
the height of full standard among books that are recognized among military libraries as worthy and stanch."
"The spirited author presents in the book truth and fiction in piquant form, of which the events
and characters from the time of the First and Third Napoleons and also from the American war serve
Dr. John Friederich, editor of the Sch weizer
as subject matter. The presentation is lively and sparkling, the style original, and the poetic descrip-
•2 Zeitung, and President of the German Press
tions of the author show unusual talent. To every friend of the best English literature 1 would recom-
Club
mend this book, as far above the usual standard of English literature."
General T. M. Walker, who led the first
command up Lookout flountain, in the " bat-
tle among the Clouds."
•' His hero is carried through the War of the Rebellion as a Southern officer, passing to the help
of Maximilian. He has portrayed and made exceedingly interesting, especially to an old army man,
many real incidents, notably his description of the Pickett charge at Gettysburg, the last rally at
Appomattox, and the hopeless defense of Queretaro, Mexico. The climax comes with the execution of
Maximilian and is certainly a very dramatic ending to a very clever story."
" 'THE SWORD OF THE PYRAMIDS.' a story of many wars, is a more ambitious work than anything
that Edward Lyman Bill has yet written. Like the 'Last of the Danvers' it is fatalistic in tone, but
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Civil War. Here we are introduced to the hero, Armand Breton, a young federal officer, whose
adventures one follows with keen interest until the final scene and tragic death in Mexico. Breton is
the son of Napoleon's great General, Ney, but had been brought up in ignorance of the fact. On the
death of his supposed uncle and guardian, Pierre Breton, he received a letter from his dead father, Marshal Ney. The letter is of great length and detail, and con-
ains the finest passages in the book. It gives minutely the chief events in the life of that splendid soldier, and is a vivid pen pict_re of his fidelity to Napoleon,
and patriotism to France. The work as an historical romance will be welcomed by a large class of readers."
;;•
General C. H. Y. Agramonte, the dashing
!!• military leader, and now Editor of the Anglo-
;•• American, City of nexico
Can be found everywhere, or sent postpaid on receipt of the price by the publisher.
Cloth, $1.00.
Paper, 50c.
F. TENNYSON NEELY, 114 FIFTH AVE., NEW YORK.

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