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Mendelssohn Hall on Tuesday evening,
when she was assisted by.Emilio de Gor-
gorza, baritone, and Albert Lockwood,
pianist.
At the piano recital, given in the same
hall Wednesday afternoon, Albert Lock-
wood interpreted an unusually interesting
program in his customary masterly style.
Another affair which was well attended
was the song recital given by the popular
American contralto Emma A. Dambmann
who was assisted by Marguerite Stillwell
pianist, Albertus Shelley, violinist, Frank-
lin D. Lawson, tenor, and Edward O'Ma-
hony, basso.
. L. YOUNG, the prominent New
York manager, has won general com-
mendation for his decision not to allow
encores at the concerts which have been
under his direction at the Metropolitan
Opera House. It is earnestly to be hoped
that this reform will be taken up by man-
agers generally and strictly enforced. The
matter of encores is becoming a positive
nuisance and, notwithstanding all talk to
the contrary, the remedy is in the hands
of the managers and artists themselves.
There was a time when an encore demand
was a recognition of the pleasure which
the artist afforded the audience, but to-day
through the abuse of this courtesy a recall
has been robbed of much of its value. As
practised at our Sunday night concerts the
encore habit is an annoyance to all decent
lovers of music and ought to be frowned
down. There should be no longer any
pandering to the unsatiable appetite of the
encore fiend. Mr. Young has pointed the
way and with success. Others can do the
same.
*
CMMANUEL WAD, one of our gifted
•^ artists and head of the piano depart-
ment of the Peabody Conservatory of
Music in Baltimore, is again at his post,
after his accustomed vacation in Europe.
Having first paid a short visit to his old
home in Copenhagen, he started southward
for the purpose of making a long-expected
visit to Italy. Journeying on in a leisurely
manner, with frequent stops at the many
points of interest en route, the trip was
not only robbed of fatigue but rendered
most delightful. The first stop, which
was but a short one, was in Hamburg,
with which busy seaport numerous former
visits had rendered him quite familiar.
Next he visited Berlin, a city always at-
tractive to musicians, and then after an-
other short trip, he found himself in Dres-
den, the beautiful Saxon capital, famed
throughout the world for its magnificent gal-
leries of painting and sculpture. There, with
that enthusiastic devotion to art in every field
which is ever noted as a distinguishing
mark of the true artist, he enjoyed, renew-
ing the acquaintance of previous years
with the greatest masters of the brush ever
known. He next took a short rest in quaint
Frankfort-on Main, from which point he
went through Schaffhausen and the great
St. Gothard tunnel to the beautiful region
of the Italian lakes, where, after being
joined by friends from Denmark, he spent
the remainder of the summer. During
THE MUSIC TRADE REVIEW
this interval, a number of short excursions
were made to the cities in the north of
Italy, where he met many charming friends.
Near Milan, he visited his colleague, Signor
Pietro Minetti, head of the vocml depart-
ment of the same conservatory with which
he is himself connected, and by the shore
of Lake Maggiore, he visited the dowager-
Princess Troubetskoi at her beautiful villa,
and delighted his charming hostess by his
masterful playing. A week was spent in
Venice, and several days in Verona, a place
quite commonly overlooked by tourists, but
which well repays a visit.
Mr. Wad's years of teaching are showing
great results in Baltimore. His elaborate
training with the great master Leschetit-
EMMANUEL WAD.
sky, developed by years of experience, has
produced in him the perfection of a teach-
er, and one hears rarely such creditable
piano students' recitals as those given by
his pupils at the Peabody. His intelligent,
earnest study of the classics is so thorough
and effective, as to be a revelation to his
advanced pupils, and his interpretation of
the modern romantic school is simply de-
lightful. His pupils who are teaching in
Baltimore are most favorably received, and
several have been selected as teachers in
the preparatory department of the Peabody
Conservatory.
*
INCE the performance of "Tristan und
Isolde" Paris is Wagner mad, despite
the fact that the famous composer avowed
in one of his essays that to be great was to
be German, and the leading critics of
the capital are reproaching the musical
public for treating as a novelty a mu-
sical work which is thirty-four years old.
M. Paul Milliet of the "Monde Artiste"
declares "Tristan " to be a masterpiece in
the absolute sense of the word, and recalls
Wagner's remarks concerning the opera:
" In ' Tristan ' I forgot every theory, I al-
lowed myself complete freedom and inde-
pendence, and while I was composing the
music I felt how woefully my endeavors
exceeded the limits of my method."
*
T H E following is worth quoting from W.
* J. Henderson's always enjoyable feu-
illeton in the Times: "It has been said that
in art there is no such thing as standing
still. But the appreciation of art is surely
a different matter. Music, the youngest
of the arts, is in the very press of her first
forward march. She is in the possession
of the priceless gift of unwearied strength.
Her technical resources have not as yet
been fully explored. She has mines of mere
matter which have not yet been opened up.
Her future is big with promise. But what-
ever that future may be, it will be the
direct product of her past. She will never
be able to ait the chains that bind her to
Bach any more than poetry can break the
bonds which tie her to David, the son of
Jesse. Some of us are prone to forget this
and to think that we are of the army of
progress when we neglect Bach and Beet-
hoven and the prophets for the preachers
of our own era. But there would have
been no Brahms without a Haydn, and
there would have been no Wagner without
a Mozart."
*
Jl/IILKA TERNINA, who has come to
** * sing some of the leading Wagner
roles with the company at the Metro-
politan this year, is to-day the most
famous interpreter of those parts which
have been associated in the past with
the names of Amalia Materna, Rosa Sucher
and Therese Malten. She has concluded
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