Music Trade Review

Issue: 1898 Vol. 27 N. 14

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PAGE5.
With which is incorporated THE KEYNOTE.
VOL. XXVII. No. 14.
Published Every Saturday at 3 East Fourteenth Street. New York, Oct. 1,1898.
VICISSITUDES OF FAHOUS SONQS.
/COMPOSERS may complain of the
^-^ fluctuations of taste as increasing
their difficulty in winning the favor of
audiences, but it is not always impossible
for them to predict the success of their
music even before it has been introduced
to the public, says a prominent critic.
Weber, when rehearsing his new opera,
" Der Freischiitz," which had been selected
as the first work to be produced in a
recently finished theatre in Berlin, June,
182;, was in the best spirits, notwith-
standing the great anxiety felt by his
friends lest his musical success should be
eclipsed by that of the rival composer
Spontini. Spontini was a chief favorite in
Berlin, and to equal him seemed a difficult
task. But Weber would not allow himself
to be discouraged, and the triumphant
reception of "Der Freischiitz" fully
justified his hopefulness. Not only was
it welcomed with enthusiasm throughout
Germany when it first appeared; it still
holds the stage as a favorite opera, despite
the many and great changes in the world
of music since Weber's time.
Another example of this presentiment
of success occurs in the account of the
production of " Rigoletto," brought out at
Venice in 1851. It is related that Verdi,
when at work on this opera, refused to fill
up a certain blank in the score, alleging,
in answer to entreaties from the singer
who was to perform the missing aria, that
there would be plenty of time to study it
—it was nothing difficult. This he con-
tinued to repeat until the actual day fixed
for the performance of Rigoletto, when,
with much mystery and many precautions
against being overheard, he played the
enchanting " La donna e mobile " to the
mystified singer. As the latter was ex-
pressing his delight, Verdi caiitioned him
strictly on no account to hum or whistle
the catching air before the evening; the
orchestra, he said, had learnt it already,
and were also under a solemn vow not to
let one note be heard before the actual
performance.
"Why this mystery?"
inquired the puzzled artist. "Because,"
replied Verdi, " I do not wish all Venice
to be singing it before my opera is brought
out."
Sure enough, the following day
"all
Venice " had caught the facile melody and
" La donne e mobile " was assured of im-
mortality.
However, first performances can not al-
ways be relied upon as tests of popularity.
On the production of La Traviata at the
same theatre, two years later, dead failure
resulted, catching as were the airs and in-
teresting the libretto. Verdi wrote to a
friend next day: "Traviata last night
made a fiasco. Is the fault mine or the
actors'? Time will show."
Time showed plainly that only the ac-
tors could be held responsible for the fail-
ure.
A contemporary account says: The
tenor, M. Graziani, took cold, and sang his
part throughout in a hoarse and almost in-
audible voice. M. Varezi, the baritone,
having what he would call a secondary
role, took no trouble to bring out the dra-
matic importance of this short, but capital
part, so that the effect of the celebrated
duet between " Violetta " and "Germond"
in the second act was entirely missed.
Mine. Donatelli, who impersonated the
delicate, sickly heroine, was one of the
stoutest ladies on the stage or off it, and
when at the beginning of the third act the
doctor declares that consumption had
wasted away the young lady, and that she
can not live more than a few hours, the
audience was thrown into a state of per-
fectly uproarious glee—a state very differ-
ent from that necessary to appreciate the
tragic action of the last act.
No wonder that La Traviata made a
fiasco under these trying circumstances!
Yet, when more adequately performed,
the opera soon became an immense favor-
ite with audiences of all nations, and
Verdi had no reason to remember the dis-
asters attending its first appearance in
public.
One of the most popular operas of the
present day, Carmen, underwent a similar
unfortunate experience, but achieved suc-
cess too late, alas! to console the disap-
pointed composer, whose death was accel-
erated, it is said, by the ill reception ac-
corded to his chef-d'ceuvre. Carmen was,
in fact, actually hissed off the stage on its
first performance (in Paris, 1875), a n d
poor Bizet died shortly after, unable to
foresee the great success in store for his
latest and best work, whose stirring music
$2.00 PER YEAR
SINGLE COPIES, to CENTS.
so admirably fits the thrilling Spanish
libretto it illustrates.
Such are some of
the vicissitudes attending favorite melo-
dies, concerning which a large volume of
interesting matter might easily be written,
were the adventures of our most popular
songs collected from the date of their
composition down to the present time.
*
A NUMBER of musical and scientific pa-
•**• pers have recently been discussing the
singular fact that the musicians who play
wind instruments and who sit on the right
of the leader of the orchestra suffer from
baldness, while the violinists on the other
side, as a rule, have long hair. An inves-
tigation has disclosed the fact that the con-
stant use of most wind instruments pro-
duces an exaggerated form of baldness.
The percentage of bald heads is largest
among the trombone players, the French
horn players coming next, and the per-
formers on the cornet next in order. A
careful study of the orchestras of New
York discloses the fact that there is a lot
of truth in this statement, which at one
time was considered to be merely supersti-
tion. The opinions of the leading musi-
cians of this city, as well as the experi-
ences of a number of trombone players,
agree with the investigations of scientists.
There are exceptions, of course.
One
thing, it is safe to assert that the absence
of hirsute adornment does not decrease
the volume or quality of tone which the
trombonists are able to produce. For in-
stance, hear them in a Sousa march.
*
Y\71LLIAM
II. still shows his interest
* ^
in theatrical affairs when they deal
with history. A popular Berlin actress,
now the manager of a theatre, produced a
play dealing with the early days of the
Hohenzollern dynasty.
The incidental
music did not please his Majesty, who
wrote to the actress that he was surprised
by the use of airs so inappropriate as "Die
Wacht am Rhein," "Deutschland uber
Alles," and "Heil dir im Siegerkranz."
He suggested the substitution of old Bran-
denburg airs.
„,
C E R D I N A N D HUMMEL, whose opera
*
"Mara," in one act, was successful
in Germany, has written a three-act opera
called " Sophie of Brabant."
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
6
THE MUSIC TRADE REVIEW
people will give them one and all that sup- one point made by the article, however,
port that their artistic .skill so well merits. that "woman has always exerted a vast
influence upon the music made by man."
., " *
PEAKING about pianists a writer in a The interesting fact remains, too, that
contemporary says that it requires " some years ago only about one-tenth of
"fourteen, sixteen, and even twenty the manuscripts submitted to musical pub-
years" to make a piano virtuoso. Will lishers were by women, now their manu-
TELEPHONE NUMBER. 1745—EIGHTEENTH STREET.
this statement bear investigation? To scripts outnumber those of the men two to
merit the title of "virtuoso," a player one."
The musical supplement to The Review is
published on the first Saturday of each month. must be able to execute with power, ease,
the front page of this issue will be
and brilliancy the most difficult composi-
found a very handsome portrait of the
tions written for the piano. Of all the celebrated prima donna soprano, Mme.
TTOW the business of music has devel- great players now before the public, is there Johanna Gadski. It is hardly necessary
* * oped during the last century may one who required twenty years to arrive at to expatiate on this artist's vocal gifts.
best be learned by the fact that every the degree of executive excellence indi- During her last appearance with the Dam-
European country now has from four to cated? asks a clever writer. I can not rosch Opera Co., in this city, she made
twelve companies giving grand and light think of one, nor of any of the great de- such a phenomenal success as to command
opera, while the average number of travel- parted either. Even the fourteen years the right to be considered one of the
ing companies in the United States each seems excessive, when considered by the world's greatest prima donnas.
season is sixteen. The equipment of these light of facts. Thalberg postponed his
Mme. Gadski arrived from Europe last
organizations represents an investment of professional career to a later period than,
week and made her first appearance this
over half a million of dollars, while the I fancy, any pianist of his rank. He was
season at the Worcester Festival which
money invested in the theatres they play either twenty or twenty-one, which may
closed yesterday. She will sing in Bangor,
in throughout the country has been have given him the fourteen years; but of
and Portland (Maine) Musical Festival,
estimated at from $150,000,000 to $200,000,- how many can the same be said? Ten to
which takes place from October 6th to 12th.
000. Scarcely a season passes without twelve years is probably nearer right.
She will also sing under Victor Herbert's
some noted singer marrying a title and the
*
baton in Pittsburg, November 3d, later
announcement of an opera season attracts
in Milwaukee, and other western cities,
the attention of the culture, fashion and QOMEBODY has again been considering
^
the relation of women to music, and after which she will join the Grau Opera
wealth of the land.
forces in Chicago. Mme. Gadski will be
The announcement of the organizing of this time he takes up the cudgels in her heard at one of the Philharmonic Society
a new opera company or the advent of a favor. He denies her nothing. Because concerts in this city the closing month of
new singer is heralded as events of the she is more emotional than man, he declares the year.
„.
greatest importance and the movements of that she is capable of the greatest ac-
complishment
in
work
only
emotional
in
noted persons in the operatic world are
'"THE people's singing classes of this city
given as much space in the telegraphic its results. He does, however, say that
*• will resume their sessions to-morrow
news of the day as are the doings of the this accomplishment has only become pos- afternoon under the directorship of Frank
highest dignitaries either of church or sible to-day. A few years ago any true Damrosch. The advanced classes meet at
state. The work of organizing a new success in it was beyond the reach of Cooper Union, and at 213 East 124th
opera company is as arduous as the mo- women, while still farther back it was a street. The elementary classes this sea-
bilizing of a small army, and all the mem- closed door to them. Her present capa- son will be eight in number, and will meet
bers of a new operatic organization are bility he attributes entirely to the progress in Central locations taking in all parts of
required to pass as rigid an examination as made in the development of the sex. Ac- the city. In each grade the course con-
are the government servants of the highest cording to this author, the things needed sists of thirty lessons, the Elementary
to produce good music are: "First, a
rank.
,
special aptitude for invention, which has course being devoted to the rudiments of

been rare among women ; second, a sort of music reading, and to practice in part-
songs for soprano, alto, tenor and bass,
'"PHE coming season promises to be a histrionic ability to study one's feelings while the Advanced grade will take up
* notable one in the pianistic world. objectively, which is not so rare a feminine more difficult exercises in reading and
The very flower of virtuosi will be with trait; third, the architect's aptitude for will study well-known musical works.
us, Emil Sauer and Zeldenrust will be high elaboration of details within close
The lessons are given on every Sunday
the novelties of the season, and if press bounds of consistency; fourth, the skill of
afternoon
from October to May. These
notices amount to anything they will be a chess player or a strategist for a definite
classes
were
founded in 1892 for the pur-
apt to make a sensation. Rosenthal, whose and direct, yet veiled plan of movement,
pose
of
opening
the study of music to the
successful tour was abruptly ended two and, finally, a long, hard training- in the
people
of
the
city.
They are self-support-
years ago, will be with us in October, while manipulation of the materials at hand."
ing,
and
about
3,000
people enter them
Siloti, that clever manipulator of. the ivor- All these attributes, it is now declared, are
annually.
ies is coming to this country again in gradually becoming part and parcel of
We have at various times expressed the
January. Teresa Carreno, the gracious and woman's character, as well as man's, and
warmest
admiration for the good work
popular—this "lioness of the piano," as as she acquires them, •, just so will she be-
which
Mr.
Damrosch and his confreres are
some one aptly called her—returns at the come a more likely .composer of music.
doing
in
inoculating
the masses with a
close of '98, after two years absence. An- But if it be true that to the enslavement
love
for
music—particularly
good music.
other pianist, George Liebling, whose of women is due the; fact that they have
It
is
by
such
good
work
that
we
can hope
playing has aroused great ^enthusiasm in composed no music worth mentioning, how
to
make
progress
as
a
musical
city,
and it
London, may visit this country during the is it that, as regards the race in general,
is
by
a
general
dissemination
of
these
tyranny
has
always
been
supposed
to
in-
season. And there are others still unan-
ideas
in
other
parts
of
the
country
that
the
sure
great
musical
results
?
No
free
people
nounced.
These distinguished artists
Nation
will
take
its
place
at
some
future
ever
produced
great
music.
That
it
takes
promise nothing new in the way of reper-
toire, but this will not occasion surprise, deepest suffering and poignant misery to day as the musical center of the world.
v
for in opera and other fields of musical bring it forth has long been the accepted
theory
and
one
which
we
of
the
United
effort we have to be content with the re-
NOTWITHSTANDING the current be-
vival of the old so long that we are now States have not yet refuted. But the l ^ lief that musicians are the most nar-
theory doesn't work where women in parti- row-minded and jealously disposed indi-
able to endure it with equanimity.
It looks as if there is some danger of cular are concerned; and everybody must viduals of the world, it is worthy of re-
congestion of pianists this season; but it acknowledge that it looks as though the mark that our leading band masters fre-
may happen, and we trust it will, that the cause must lie deeper. No one can deny quently play each other's compositions,
S

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