Music Trade Review

Issue: 1903 Vol. 36 N. 6

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRKDE REVIEW
ARTISTS' DEPARTMENT.
TELEPHONE
NUMBER.
1745.--EIQHTEENTH
STREET
The Artists' Department of The Review is
published on the first Saturday of each month.
JOSEFFY REDIVIVUS.
'"THERE is no keener pleasure than to an-
* nounce that this great artist is again be-
fore the public as a pianist, for be it under-
stood that Joseffy is always in the eye of all
who know aught of music.. He has consented
to play a few concerts this season and since
his brilliant appearance in Toronto there are
endless requests for the great pianist who is
more to the true lover of all that is greatest
in music than he ever was before. Needless,
indeed, to tell of his personality, for the mod-
esty and the earnestness of the man is but too
well known, as is his art, which has never
been surpassed by any living pianist.
Joseffy is promised to New York later in
the season. He is now filling engagements
out of town and from all over come expres-
sions of delight that America is again priv-
ileged to hear its own Joseffy, who is unsur-
• passable and an American citizen. Our cover
page this week is adorned with an excellent
counterfeit presentment of this great artist.
for the beautiful, the chaste, the simple, the
genial melodies that the Salzburg composer
in his short span of life gave to the world.
There is also the plea for its perpetuation in
the hearts of the many.
No living singer is better qualified to be the
advocate of what Sembrich so gracefully
terms "pure, tuneful, fluent song," for she
sings music of the sort—absolute music—
better than any of her contemporaries.
It is a difficult task to sing simple music
well. In declamatory dramatic music all the
niceties of art, perforce, must be sacrificed,
and if a singer has not these niceties at her
command, their absence in her work is more
a matter to be theoretically deplored than
practieally observed. But every impurity of
tone, every slur of attack, every coarseness of
production, every imperfection of phrasing
asserts itself in Mozart's melodies.
The singer who triumphs in such music—
and Sembrich does—reaches the highest pos-
sible eminence in musical art.
For the sake of good taste in music, let
every one hope that Sembrich's New Year's
wish—for such it is—will be fulfilled.
OPERA FOR THE MASSES IN PARIS.
T" HE American who converses with the
' Parisian is often reminded by him that
opera in his city is not as largely confined to
those of wealth as it is in New York. Some
light has been thrown on this subject by
Pierre Lalo, who, in an article in the Temps
declares
that Paris is the only French city
BIO SALARIES TO SINGERS.
where
the
poor have no chance to hear good
IT appears that Jean de Reszke holds the
music,
and
that one can tell the Parisian from
* champion record in the matter of salaries
the
provincial
workman by the fact that the
received by male singers, having been paid
former,
in
his
workshop,
sings vulgar vaude-
$36,000 for sixteen appearances. Mme,. Pat-
ti, of course, ranks the highest in the matter ville tunes, while the other sings operatic airs.
of salaries paid the other sex. F. J. Crowest Various attempts have been made to give
states that she has earned a round five million cheap opera in Paris, but they have always
dollars with her wonderful voice. During failed, because one or more of half a dozen
the year she netted $70,000, a sum much conditions of success were lacking. The lat-
greater than many a successful lawyer or doc- est project is that of Albert Carre, director of
tor earns in a lifetime. Day after day, during the Opera Comique. He has the company,
one part of her career, she made within two the scenery, the experience, the repertory, the
or three hours over $5,000, and was coining promise of state aid, and a chance to secure
money at a rate which, if it could have been the Hippodrome, which seats 5,000, and
maintained, would have made her a million- would enable the management to sell tickets
aire within three years. The highest figure at ten to forty cents. All that is needed is the
ever paid to a singer at Covent Garden was co-operation of the city, and the city is hesi-
$48,000 paid to Mme. Patti in 1870 for six- tating.
teen appearances, or $3,000 for each appear-
WORTHY OF EMULATION.
ance. She has, however, beaten this record
A
T
the
recent meeting of the Incorporated
in her American tours, when she has obtained,
**
Society
of Musicians of Ireland, held in
as she did at New Orleans in the eighties, as
Dublin,
the
memory
of Sir Robt. Stewart, the
much as $6,000 a night. Her fees for sing-
great
Irish
musician,
and a widely known au-
ing have been "princely"; but she probably
thority
on
the
music
of that country, was
"bears the palm" in her profession for being
eulogized
by
those
in
attendance.
It is inter-
paid for not singing, for at one season at
esting
in
view
of
the
efforts
which
we
Covent Garden, besides her $4,000 a perform-
are
making
in
this
city
to
secure
a
permanent
ance, she was paid a "retainer" of $60,000 not
orchestra, as well as other plans for a wider dis-
to sing elsewhere for a certain period.
semination of musical knowledge, to read Sir
Robert's plans for educating Dublin in 1881.
MME. SEMBRICH'S FAVORITE.
VERY prima donna has her favorite com- They are worth patterning after:
His epitome included: (1) Historical con-
poser. Sembrich's is Mozart.. Writing
to the World recently in this subject she said: certs; (2) lectures on the scientific and philo-
"It pleases me to think that in spite of the sophical aspects of music; (3) a better style
popular taste for highly-spiced dramatic mu- of pianoforte teaching, with some attention to
sic the love for Mozart is still alive. It ought sight playing and the knowledge of classical
to grow day by day so that pure, tuneful, form; (4) the inclusion of sight singing as a
part of the course of every school through-
fluent song may not die."
Here we find expressed the singer's love out the country; (5) a resident orches-
tral band of sixty performers to refine and
guide the taste of the public; (6) a good con-
cert hall and a really fine organ erected there.
"To these suggestions," he said, "I would
add the inclusion of music as a voluntary sub-
ject in the curriculum of the universities,
some authorized qualifications for teachers of
music—quacks being discountenanced—and
the means of adequately trying over and, if
found worthy, of producing in public the
works of young composers who are now
placed at great disadvantage by the impossi-
bility of their works being heard."
In another place Stewart had said: "I do
not see the least likelihood of an orchestral
band being maintained in Dublin upon a self-
supporting basis, and it follows that we must
depend upon some sort of an endowment."
He went into the cost of this scheme and,
with something of a hopeful yet doubtful
look, he glanced toward the city fathers,
wondering if they could be moved.
^t
DESIRE TEACHERS TO BE MUSICAL
A BILL prepared by the Illinois Associ-
** ation of Music Teachers has been in-
troduced in the Legislature of that State,
providing for a board of five examiners, at
least two to be pianists, one a violinist, and
one a vocalist, to pass upon the qualifications
of teachers. The expenses are to be met from
an annual license fee of $3 on authorized
teachers of music.
A CHANCE TO BECOME WORLD-FAMOUS.
'"FHE latest scheme in the matter of the
' illustrated postal card fad—which by the
way, has never become here the same rage as
in European countries—is a proposition sent
to all musicians of any importance in this
city for their latest photograph that it may
be added to the series of celebrity postal cards
which the publisher is preparing. He is also
anxious to know if every person to whom he
applies will not be willing to promise at least
$40 toward defraying the expenses of print-
ing the card, which are to cost five cents
apiece. In view of this payment the subject
of the photograph will receive 200 copies. As
they supply the photographs and the cards
cannot cost more than a cent, the celebrities
who appear on these postal cards must be
prepared to pay for the fame they will ac-
quire. And it is not likely that American
interest in postal cards will be stimulated by
this device.

THE SECRET AT LAST REVEALED.
A N interrogative man was talking to a
** singing teacher of some prominence a
few days ago and in the course of the con-
versation noted the coming and going of
large shoals of feminine pupils. Suddenly
he recalled a matter that had long puzzled
him. He again interrogated the teacher, who,
up to this time, had been a model of patience.
"Why are women in this country so much
more successful than men in singing?"
"Well, it's not because there are no good
male voices, as some people seem to think,
but simply because so few men study sing-
ing."
"Why is that, please?"
"It doesn't pay. Men can make more
money doing other things. Unless a man
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE
has a wonderful voice and can fairly hope to
reach the highest position in the field of opera,
he can do better in some other calling. Wo-
men, of course, are well satisfied if they can
learn to sing well enough to get a church
choir position and take a few pupils. That
does not satisfy the alert American man. It's
a plain business proposition, that's all."
Thus does commercialism, hated of Rich-
ard Wagner, continue to invade the sacred
precincts of art.
MME. EDWARDS' OPERA CLASS.
I ONG ago it was visible to anyone who
*-* knew Mme. Etta Edwards, of Boston,
that her class would enjoy privileges of rare
and immeasurable value. That she has the
ability that few have to perfect the tone pro-
duction is past the necessity of mention be-
cause all of those who study with this remark-
able teacher have gained a beautiful quality
and a thorough musical and intelligent style..
But Mme. Edwards was not satisfied with
this; she had in her class those who were
ready for operatic study and she was not will-
ing to relinquish her care of their tone pro-
duction, being thoroughly intimate with the
conditions as they exist when young girls are
sent abroad to study and to struggle. From
this sentiment grew the determination to en-
gage the best talent in America—or had she
deemed it necessary she would have brought
it from Europe—to open a class of operatic
study for her own pupils.
For this purpose Mme. Edwards engaged
Signor Vianesi who has spent his entire life
in operatic conducting and stage management
in Italy, to come to Boston from New York,
where she herself can give attention to the
voice as he instructs the pupils in the roles.
The first recital occurred Jan. 9, when the re-
sults created astonishment among all those
present for it demonstrated what can be ac-
complished under the direction of a woman
like Mme. Edwards and such people as she
sees fit to entrust with the welfare of her pu-
pils.
While one must marvel at what the pupils
have accomplished, there is still more than
credit due a woman who works with such af-
fection and such intelligence for those whose
interests she has at heart. One teacher like
Mme,. Edwards in America is reason enough
to feel that singers can remain in this coun-
try and gain the best of vocal treatment as
also every advantage that it is possible to se-
cure.
Among the pupils who gave the first recital
were Mr. and Mrs. Frederic Martin, Miss
Alice Wetmore, Miss Edith Ellsbree, Miss
Sigrid Oleson, Miss Bernadine Parker and
several others, assisted by Robert Hall.
Mme. Edwards has now three large elegant
rooms in Steinert Hall, where she conducts
her work and holds her recitals.
JEAN DE RESZKE HONORED.
' T ' H E recent announcement that Jean De
* Reszke has been made a Chevalier of the
Legion of Honor, is of special significance
inasmuch as he is the first singer to receive
this honor while still active in his career.
Others have been similarly honored, but for
their services as teachers or composers after
they have retired from active work.
DYNAMICS IN MUSICAL ART.
sive modern music, when we have had our
T H E gentle spirit of Arnold Dolmetsch is souls laid bare for us by some wizard of the
* pained by the development of powerful orchestra, when we have had our intellects
dynamics in modern art. He shudders at the spurred to unwonted labor by the problem
massing of instruments, at the complicated compositions of a Richard Strauss, we are
mechanism of expression used by composers glad, indeed to go back to the musical an-
in their efforts to make the communicative tique and rest among the compositions of a
possibilities of music larger, more direct and period when the emotional outlook was so
more overwhelming. He asks us to believe small that to us it is imperceptible. It is good
that the olden times, when ladies played ami- for us to do this. It is well for us that we
ably on harpsichords the suites of Rameau can from time to time hear music which
and Handel and Couperin, or sang the sweet seems to us to seek for nothing deeper than
songs of Arne and Lawes and Carey, were pure external beauty, though doubtless to
better times than these, when professional its contemporaries it seemed to be extraordin-
athletes thunder the Herculean rhapsodies of arily communicative. So the children of the
Liszt and expensively educated singers de- next century, in whose musical vocabulary the
claim the problematic lyrics of Brahms and worst dissonance of Strauss and his staccato
cackling of clarinets in their uppermost regis-
Strauss.
*
*
*
*
*
*
*
*
ter will be as the chord of the seventh and the
That an elder time is a better time is a hymning of the horns are in ours, will go
pleasing or rather displeasing delusion of back to the lusciously melodious and simply
many. To condemn one's own period because constructed old music of Wagner and lull
it does not stand where another period did their weary brains with the cradle song of
is a sort of post hoc ergo propter hoc attitude, Briinnhilde and the pretty love ditty of Tris-
which will not bear close examination, as W. tan and Isolde.
J. Henderson correctly says. This whole mat-
In that day Bach will be as Gounod in the
ter of musical progress may be reduced to a mouths of the people. But there is such a
simple basis. It has all been the result of a thing as being too visionary. Mr. Dolmetsch
search after expression. What is called the is captivating. His wife is a delightful virtu-
romantic element in music is nothing but the oso on the harpsichord and her singing of the
motive called impulse. The classic or con- archaic songs sounds like a phonographic re-
servative element is the motive called idea. production of not only the voice but the spirit
M. Taine in his work on English literature of the time. Miss Johnston plays the viola da
says: "Two special powers lead mankind— gamba in a platitudinous, abstracted, tonal
impulse and idea." Here we have them in speech, as far removed from the music of this
musical art—classicism and romanticism.
day as the voice of the mediaeval schalmei.
*
*
*
The music which they play is delightful in its
Instrumental music has made progress sim- simplicity, its calmness, its utter freedom
ilar to that of the other forms of art, and no from sturm und drang.
amount of humorous comment will suffice to
But the world will move, and music will
convince men and women of to-day that this
make progress, even if it has to offend deli-
progress is deleterious to the art. If one be-
cate ears by seeking after large masses of
gins with such reformatory measures as are
tone. For the composers are ceaselessly
suggested by the deprecatory remarks of Mr.
driven by the romantic impulse and are striv-
Dolmetsch, where is he to end ? Shall music
ing with every lustrum to deepen and widen
go back as far as the symphonies of Haydn
the expressive power of their art. As they
and stop there ? That is not quite so far back
are the leaders, the rest of us must be follow-
as the chamber music compositions offered
ers.
for our consideration by this interesting
WAS IT PLAGIARISM ?
apostle of the archaic. The apparatus of the
Haydn symphony, even if it were reduced to T* HOSE who have followed the defence in
the proportions of the Esterhazy orchestra,
the recent libel suit of Victor Herbert
for which Haydn wrote so many of his works, against a notorious trade editor, will be in-
might be much too heavy for ears attuned to terested in the discovery made by Dr. Hugo
combinations of harpsichord, viola d'amore Riemann regarding Schumann's G r e a t
and viola da gamba.
Quintet, which, it will be remembered Pugno
*
*
*
*
*
*
*
*
and the Kaltenborns played at Men-
All this vast and complicated modern or- delssohn Hall recently. It is that the ener-
chestra, with its army of strings and wood, getic first five notes of the first movement are
has grown by degrees with the persistent identical with the opening bars of an E-flat
search of composers after means of expres- major trio by Anton Fritz, who died in 1760.
sion.. The romantic impulse has been at work Dr. Riemann has lately edited "Collegium
here, too. It set Beethoven, Schumann and Musicum," a collection of chamber music
Liszt altering the symphonic form; it set works by composers preceding Haydn.
Berlioz exploring the resources of instruments
"COLUMBUS", A SYMPHONIC POEM.
and combinations of instruments. To say
\T
ICTOR
HERBERT, the director of the
more and more, to make music a larger and
Pittsburg
Orchestra, has written a sym-
more influential means of expression has been
phonic
poem,
"Columbus,"
which was per-
the effort of composers from the infancy of
formed
for
the
first
time
by
the
Pittsburg Or-
the art. If the development of the method of
chestra
at
a
regular
concert
in
Carnegie
Mu-
expression has moved toward the employment
sic
Hall,
Pittsburg,
on
Jan.
2.
The
title
of
of a larger volume of tone, how does that in-
the descriptive movements (descriptive of the
jure the art?
landing of the discoverer in America) are
*
*
*
It is true that when we have for a time ''Sunrise on Granada," "At La Rabida,"
suffered under the magic of fiercely expres- "Murmurs of the Sea" and "Triumph."

Download Page 6: PDF File | Image

Download Page 7 PDF File | Image

Future scanning projects are planned by the International Arcade Museum Library (IAML).

Pro Tip: You can flip pages on the issue easily by using the left and right arrow keys on your keyboard.