Music Trade Review

Issue: 1901 Vol. 33 N. 23

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRKDE
9
English audience; it knows the best, and it themselves to make a fund to pay for the a flood of tremendous events were massed
wants the best. It is appreciative and a shade education of such pupils than to give their into so short a period of time. The orches-
more demonstrative. The French audiences best energies, build their fondest hopes, and tral condition of New York is one that can
are demonstrative—no, not always emotion- then find that there is no tooth so keen as hardly be realized from a quick glance, as
the tendency would be to think that Boston,
al—it depends, however, on what you accept man's ingratitude.
with its weekly Symphony concerts, were
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as emotion. To me, the height of emotion
Josef Hofmann is again in this country. ahead in number. But count shows more
is the dead silence that follows the close of
a number. This is true emotion and I take He is making a furore, and it would be inter- than fifty orchestral concerts exclusive of
this as the greatest tribute that can come to esting to know why his criticisms are so Sunday night "pops," or soloists who en-
any artist, for it shows not only that you remarkably good this year, when last year gage the orchestra to enhance their value.
have touched the true feelings of your hear- they were so remarkably poor. Of course, Regular series present the New York Phil-
ers, but that your audience is composed of everyone knows he is a tremendous artist— harmonic, the Boston Symphony, the Pitts-
people who are with you in every shade of just as he was last year. When criticism burg Symphony, the Young People's Sym-
feeling." For Russian and Italian audiences shall mean something other than notion, this phony, the American Symphony and the Peo-
he claimed warmth that was mingled emo- question will be answered. Hofmann's del- ple's Symphony. Not only do we get these
tion and demonstration; but he said, " J u s t as icacy in pianissimo passages is the most orchestral concerts, but they are under differ-
in all countries, in all runs of life, you find wonderful thing about him. But what a ent conductors, which is another subject for
good people and bad people, so you find mu- blow to the theories that claim these charms study. It means much to a music student to
sical and unmusical people; they do not be- to be exclusive property of the Leschetitzky be able to observe the characteristics of each,
and especially such people as the list pre-
long to countries, nor to localities; they be- mysticisms.
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sents. The conductors of aforesaid orchestras
long to the world, and I never can under-
Fannie Bloomfield-Zeisler played two re- are: Emil Paur, Wilhelm Gericke, Victor
stand why people attribute them to one coun-
citals in New York and added to her laurels Herbert, Frank Damrosch, Sam Franko and
try more than to another. I know less about
and her scrap-book. In the face of every- F. X. Arens. Soloists and the best avail-
your negro or your darkey, as you call him,
thing that has been said, there is nothing able in every case.
but I suppose that he, too, is musical in the
more to say—except, however extravagantly
There are choral performances announced
same sense that our gypsies are." In liter-
her praises were sung, she merited every-
by such societies as the Oratorio, the Musical
ature Mr. Slivinski is as thoroughly skilled
thing that was said. With her art, her tem-
Art, the Musurgia, the Mendelssohn Glee,
as many who give time to nothing else, not
perament, her snap and go, if she had half the
the Liederkranz and the Arion, with our
alone in the lore of Tolstoi, Sienkiewicz,
technic she has, she would still be unique in
friends across the bridge, the Brooklyn Ora-
Maxim Gorki, and other Russians, but in the
the roster of to-day's artists.
torio. The conductors presenting these are
literature of all countries—America as well.
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He is a fine linguist, and above all, he is a
Paderewski enthusiasts are getting into Frank Damrosch, Walter Henry Hall, Ar-
trim. It pays to be a favorite in America. thur Mees, Paul Klengl and Julius Lorenz.
gentleman.
Paderewski has found this out, and it will Besides these there are innumerable clubs of
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be
still further proven when "Manru" goes a more private nature. The chamber music
It is time that something definite were ar-
on
at the Metropolitan Opera House. With is estimated at about twenty-five concerts by.
rived at to supply education for the very
great number of musical talents who cannot the ironclad rules laid down by the artists the Kneisels, Bendix and Dannreuther. It
afford to pay for it. The way things have concerning rehearsals, it will be interesting would be impossible to estimate the recitals,
been treated in the past is anything but sat- to know what Paderewski's feelings will be vocal and instrumental, but they surely will
reach far beyond one hundred in number, so
isfactory. Many teachers have given ser- in the matter.
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if anyone thinks New York is starving for
vices out of the kindness of their hearts,
I
had
the
pleasure
of
examining
the
latest
the want of music it is a mistaken idea.
out of a belief that the talent was great
work
of
Homer
A.
Norris,
of
Boston.
This,
Emilie Frances Bauer.
enough to pay for the trouble, or out of
if
courtesy to some one who was interested; it will be remembered, was the setting of
PLAYING IN LONDON.
Walt
Whitman's
"Leaves
of
Grass"
for
they have become interested in the pupils;
C RNEST SCHELLING, an American pi-
they have furnished not only the lessons, voices and piano. The first production of
^
anist and a pupil of Ignace Paderewski,
this
work
will
occur
Dec.
ioth,
and
it
will
but in many cases the necessaries of life;
has been playing in London. He has on his
be
awaited
with
keen
interest,
as
appreci-
they have given them additional educational
programs a fantasia on arias from "Manru."
advantages; they have often given them so- ation has been the lot of all work from this
Mark Hambourg has also appeared lately in
cial opportunities, and for all this care and talented pen. It is hardly fair to form an
London for the first time as an adult pian-
interest and affection, what is the usual opinion from the delightful hearing given
by the composer, but it is satisfactory to ist. Vladimir de Pachmann, who was re-
course of things?
cently there, announced that he was to play
A pupil is flattered, as every musician, say that there is more breadth, more true
next season in this country.
good, bad and indifferent, is flattered, and inspiration, more freedom from restraint and
it is not very long before the benefits are for- constraint than in anything I have heard D I E T R O MASCAGNI, who no longer
gotten and years of hard work are thrown from Mr. Norris. It has the elements of a A
talks of his great tour of this country,
off in a moment of exhilaration at his own great work and the music is in keeping with has been conducting performances in Rome
of his "William Radcliffe" and Saint-
achievements, and the pupil feels that he has the masterful poem. Can one say more?
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Saens, "Samson and Delila," both of which
grown beyond the teacher—a change must
Every season is opened "under most bril- are new in the Italian capital.
be made. This, in return for all those years
JI
of work, to say nothing of money spent, or liant auspices." Without that remark the
A Grieg festival is to be held at Pyrmont
season
would
not
be
in
full
swing.
Never-
kindly affection lavished. The system is
next year. Selected works from his various
wrong. It were better for the teachers theless, it is difficult to remember when such forms of composition will be performed.
Professional Cards in this
department, including
subscription, $5,00.
CONSERVATORIES
PROFESSIONAL DIRECTORY
LJERBERT H. JOY, 116 Carnegie Hall, New York.
PIANO INSTRUCTION AND PIANISTS
I/LINGENFELD COLLEGE OF MUSIC, 108 Han- MME. HELENS MAIGILLE, 1311-1315 Carnegie f \ R . HENRY G. HANCHETT, Pianist, Teacher,
' " Hall, New York.
1^ cock St., Brooklyn, N. Y.
LJ Lecturer, 13« Fifth Are., N. Y.
MISS
FLOBENCE E. H. MARVIN, Hardman Bid*, LJ ENRY HOLD EN HUSS, 318 East 150th St. and
vl
VOCAL INSTRUCTION
'
138 Fifth Are., N. Y. Tuesday, Thursday and 1 1 Carnegie Hall, N. Y.
Saturday.
MRS HENRY SMOCK BOICE, 127 McDonongh ALBERT GERARD-THIERS, Vocal Studio, 649 MME. LIZA DELHAZE WICKES, 2 West 95th St.,
rt
' " New York.
" 1 St., Brooklyn.
Lexington Are., N. Y.
JESSICA DE WOU, 71 W. 65th street, New York. MRS. ETTA EDWARDS, Steinert Hall, Boitom, M &RLE L. POTVIN. 117 Weft 45th St., New York.
This Professional Directory will
be extended to all branches
of art at the same rate-
LJEINRIOH GEBHARD, 8 Mill at., Boston, Mass.
I EOPOLD WINKLER, Steinway Hall, N. Y.
A LKXANDER RIHM, 100 itoduey St., Brooklyn,
CUGENE A. BERNSTEIN, 160 East 70th St.
£ N. Y.
JULIE RIVE-KING, 42 East 21st street
MR. SAMUEL BOWDEN MOYLE English Die
" 1 tion » Specialty-136 Fifth Are., N. Y.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
ELLISON VAN HOOSE.
Y\7 I T H youth, a magnetic presence, a
beautiful voice of power, richness and
quality, a thorough understanding of how to
use this voice, combined with the fact that
he is an excellent musician, Ellison Van
Hoose is one of the most reliable tenors in
America, and his services are sought after
by conductors and societies in all parts of
the country. In the two > most important
festivals of the season of 1900-1901 he has
made a conspicuous success at each. He
was specially engaged to sing the "Passion"
during the Bach festival at Bethlehem, Pa.,
ELLISON VAN HOOSE.
May 23d to 26th, and so successful was he
in that most difficult part in the whole range
of oratorio that the critics one and all pro-
claimed him the success of the festival. At
the Worcester festival his success was alike
instantaneous and he established himself as
a prime favorite, the distinguished critics
being enthusiastic in their praise of his work.
At the recent Wagnerian program given by
the Boston Symphony concert he sang with
Ternina and achieved almost as great a suc-
cess as the great Wagner specialist. In-
deed, it has seldom fallen to the lot of an
artist to receive such unqualified and unani-
mous praise from the press.
The chief thing that makes Van Hoose
so useful is his marvelous versatility. H e
sings equally well in German, French, Italian
or English, and is at home in concert, ora-
torio or opera. He is a native American,
born in Tennessee. His father is of Dutch
extraction and his mother Scotch-American.
He has received most of his education in
America, though he has spent almost two
years abroad, singing, and at the same time
studied with some of the best masters in
Europe.
7VYVSIO TRKDE
REVIEW
ELBERT HUBBARD ON ART.
A RT is the expression of man's joy in his
work. The province of art is to impart
a sublime feeling—to bestow a beautiful emo-
tion. Thus the artist is one who expresses
his highest and best in a way so that others
are able to share in his joy.
The playing of the "Pilgrim Chorus" from
Tannhauser affects me into silence and tears
and uplifts my spirit so that there come to
me thoughts that are beyond speech; for
me, Wagner makes the room a sacred chan-
cel, the player a priest and all things for the
moment holy.
Wagner is gone, but the
mintage of his soul is our
heritage. He expressed him-
self, we have the net result
of his highest emotions; and
the loftiest moods of his
great soul speak to us out
of the past. Wagner is not
dead—he is here. His mu-
sic imparts to us his feelings
and thus through art he has
expressed for us the joy, the
mingled sadness and aspir-
ations of his soul.
Wagner, Millet and Whit-
man speak the same gospel;
but each expressed his life
in his own way. One im-
parted his emotions through
the sense of hearing, another
through the sense of sight,
and the other through the
understanding. But the "Pil-
grims' Chorus," "The Sow-
er," and "Drum Taps," are
one in their message.
Through art we are heirs
to the highest and best that
the world has ever thought,
or known, or felt. The man
himself was often depressed,
unreasonable, his life faulty.
At such times he symboled
no beauty. But occasionally
his spirits arose to transcend-
ent heights, and the record of that brief home
of Divine Love comes to us in his art. Al-
fred Tennyson may have been, at times,
whimsical and absurd, but no matter—all
that is gone, and only the harmony of his
life is ours. We have the "In Memoriam."
The desire to impart his highest emotions
is what causes the artist to express—he
wishes to share his joy with another. The
creative impulse in art is the desire to give
out your thought to others.
I know a little girl, just four years old,
who goes to kindergarten, and there she
sticks little red and blue paper wafers upon
cardboard so as to make pretty geometrical
figures. And when she sees that she has
produced a beautiful result, she wants to
run all the way home to show the result to
mamma. That is, she is so happy that she
wants to share her joy with another. And
thus we see that this little girl has supplied
us the true and best definition of art—it is
the desire to impart a feeling. And the high-
er and greater and more sublime the emo-
tion the keener the desire to give it out.
One can endure sorrow alone, but it takes
two to be glad. Only by giving out our
joy, do we make it our own—by sharing, we
double it.
SEVEN GREAT COMPOSERS SUMMARIZED.
I N a recent program Dr. H. G. Hanchett
*• thus cleverly sums up the merits of seven
of our greatest composers: Bach, the greatest
and most artistic master of counterpoint and
the writer to whom all modern composers
acknowledge highest indebtedness. Beetho-
ven, by common consent the greatest master
of music, especially of symphony. No col-
lection of classical music is so widely known
as are his sonatas for the pianoforte. Chopin,
the greatest master of harmony and of the
pianoforte as a solo instrument—the most
original and one of the most poetic of com-
posers. Schumann, the most romantic of
composers, a critic and thinker, who has
exerted a most powerful and enduring in-
fluence upon the development of musical art.
Grieg, the greatest master of harmony since
Chopin, and a composer who has made most
use of characteristic national traits of pop-
ular music. Wagner, the greatest of dra-
matic tone poets and the one most influential
over present-day composers; a true epoch-
making genius. Liszt, the greatest of pian-
ists and the greatest master of purely musi-
cal resources—that is, the one who has pro-
duced the greatest effects by means of
rhythms and tones without the aid of wojds
or scenery.
STATUS OF MUSICIANS.
HP H E status of musicians in the social
* world to-day as compared with a cen-
tury ago is pertinently emphasized in some
facts brought to light by L. C. Elson, of
Boston, who says: "It is not so very long
ago that the musician was held to be of a
very inferior caste, generally unfit for the
circles of polite society. In the eighteenth
century we find advertisements in the papers
for servants who are musical, one reading:
Wanted—A valet who can take full charge
of his master's clothes and who can bear a
violin part in a string quartet when desired.
In 'Pepys' Diary' we read of Mrs. Pepys'
maid, Mercer, taking part in vocal duets and
concerted music, and later on this musician
receives a beating from Mrs. Pepys for stay-
ing out against her orders. One reads of
Schubert living with Prince Esterhazy's ser-
vants at the castle of Zelesz, of Haydn be-
ing addressed by the same family with the
contemptuous third-personal pronoun "Er,"
which is only used in Germany to very lowly
inferiors, and of Mozart being thrown down
stairs by the steward of the Archbishop of
Salzburg when he came to ask for his dis-
charge. These are but a few instances of
the status of the musician and teacher in the
past centuries. One might write an entire
article upon the slights and contumelies that
have been put upon great musicians, and
the lesser ones suffered in proportion."
Charlotte Maconda is reaping new honors.
She is now singing with great success in
California.
Prof. Semnacher and his clever pupils will
be heard in recital at Carnegie Lyceum early
in January. An interesting program is being
prepared.

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