Music Trade Review

Issue: 1904 Vol. 38 N. 14

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC TRADE
REVIEW
GREAT FEAST OF MUSIC AT ST. LOUIS.
The musical attractions to be presented at
the Louisiana Purchase Exposition, which
opens in St. Louis on May i, are steadily
growing in number, and it is safe to assume
that the features now outlined will exceed
from every viewpoint anything of a similar
nature which has been given at great inter-
national expositions in the past.
In the magnificent Festival Hall, which
seats 3,500 people, and which contains the
Paris; the Philharmonic Band, of Berlin, and
perhaps the Royal Irish Constabulary Band,
of Dublin. Sixteen American bands will be
heard, including all the leading organizations.
Daily concerts will be given by three of the
leading bands, consisting of one celebrated
American organization; Weils's St. Louis
Band and a foreign band, which will be either
Mexican, Filipino or Indian.
The Bureau of Music has been liberal in
ERNEST R. KROEGER, MASTER OF PROGRAMMES.
largest organ in the world—whose musical
charms will be exploited by a number of
foreign organists, headed by Guilmant, as
well as some seventy-five distinguished
American organists, with Charles Galloway
as official organist—there also will be given
orchestral concerts with the principal Ameri-
can, conductors, such as Thomas, Gericke, Her-
bert, Paur, Scheel, Damrosch, and a number
of foreign conductors, including Hellms-
berger, of Vienna. The regular orchestra
will number eighty musicians, under the di-
rection of Ernst, with Max Bendix as con-
certmeister. All the prominent pianists will
be heard in Recital Hall, and a number of
vocal recitals, as well as chamber concerts,
are also in preparation. The leading Ameri-
can choral societies will give many concerts,
and the St. Louis Symphony Society will also
be heard in oratorio.
Bands from all over the world have been
engaged, such as the famous British Grena-
dier Guards, the Garde Republicaine Band, of
the way of prizes, and $30,000 have been ap-
propriated for the band contest, $16,000 in
prizes for the choral contest, and $4,500 in
prizes for the chorus contest. Other interest-
ing features ofj the World's Fair will be
school children's concerts in Festival Hall,
and massed children's choruses in the stad-
ium.
.
Another musical feature will be the con-
vention of the Music Teachers' National As-
sociation and the Missouri State Music
Teachers' Association. Music by American
composers will be largely encouraged at both
orchestral and organ concerts, and altogether
Messrs. Markham, Stewart and Kroeger, of
the Bureau of Music, are to be congratulated
upon the work so far accomplished.
As recently recorded in The Review, the
official hymn has been written by Edmund
Clarence Stedman, and set to music by Prof.
J. K. Payne, of Harvard, and the official
march has been written by Prof. Van der
Stucken.
In connection with the band tournament,
which commences on Sept. 12th and ends
Sept. 17th and for which $30,000 in prizes
have been appropriated to be divided between
the bands which will be placed in three classes
—A, twenty members, B, twenty-eight mem-
bers and C, thirty-five members—much dis-
cussion has been caused by the fact that the
international pitch is to be used exclusively.
Some have objected to this fiat. On this sub-
ject, Geo. W. Stewart, manager of the Bureau
of Music, said to The Review:
"Many years ago the great orchestras of the
country, including Thomas' and the Boston
Symphony, adopted what is now termed the
international pitch. Following the lead of
these eminent organizations the principal
bands of the United States have been grad-
ually but surely adopting the international
pitch.
"It is a well known and indisputable fact
that the leading bands of the United States
not only use the international pitch, but
that they have used it for many years. In
none of the following cities is the old fash-
ioned high pitch used by the best organiza-
tions : New York, Philadelphia, Boston, St.
Louis, Chicago, Cincinnati. In fact, none of
the best bands in the United States use the old
fashioned pitch.
"Apparently a standard of pitch for the
Exposition was necessary, indeed imperative,
to prevent having a conglomeration of instru-
ments, ranging in pitch one-third to two-
thirds of a tone above the pitch of all of the
best bands in the world.
"In reply to a gentleman who asked me the
names of any Western bands using the inter-
national pitch I referred him to the Musical
Union of St. Loius with the information that
one of its laws makes the use of any high
pitch instrument at a professional engage-
ment a misdemeanor, punishable by a fine of
$25 for each offense. I also gave to the gen-
tleman the addresses of a number of the most
prominent band leaders in the United States,
requesting him to write to them to verify my
statement, and also requested him to write to
Steinway & Sons, New York, or any reputa-
ble pianoforte or organ firm in America in
order to convince him that the high pitch be-
longs to ancient history; but, like the demo-
crat who still votes for Andrew Jackson, he
knows he is right, and won't be convinced."
BROOKLYN AS A MUSICAL CENTER.
At a recent meeting of about sixty repre-
sentative Brooklyn women at the home of
Mrs. W. S. Packer, No. 2 Grace Court, a
movement for the establishment there ~6f sT
great university of music and the making of
the borough a national music center was dis-
cussed at length. Mrs. Camden C. Dike pre-
sided. It was decided to hold a public meet-
ing on a date to be fixed, and to seek to in-
terest prominent men of Brooklyn and else-
where in the project.
Mrs. Packer's plan is to have the proposed
university of music liberally endowed in all
its departments and to pattern it after the
leading institutions of the kind in Europe.
The proposed university will include an au-
thoritative college, an opera house, concert
chambers, a permanent orchestra, library and
school of last resort.
Busoni sailed for Europe last week after a
successful tour in America.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE!
MUSIC TRADE
REVIEW
A PHONOGRAPHIC PANTHEON.
Phonographic Archives to Be Established at Wash-
ington, D. C, at Harvard and Yale—Emperor
of Germany Is First to Hand Down His Voice
to American Posterity.
Music Dealers!
We are advertising in the
giant mediums of the
country to make it easy
for YOU to sell
DITSON MUSIC
Look in the April issues of the Ladies' Home
Journal, Delineator, Youth's Companion, Mun-
sey's, McClure's, Cosmopolitan, Everybody's, Re-
view of Reviews, Outlook, World's Work, Success,
Saturday Evening Post, Christian Herald, Ains-
lee's, Star Monthly, etc., and see what we are
doing for you.
Here is the advertisement:
Music Lovers
Send us 5Oc
If your music dealer cannot supply you,
in U. S. stamps and we will send (prepaid) one of the
Ditson Half-Dollar Scries
Full folio size and the greatest value
ever given in music collections
Do not confuse these with CHEAP music
They represent such composers as Mascagnl,
Bohm, Behr, (Jabriel-Marie. Ascher, Braga,
Boccherlnl, Mendelssohn, Rubinstein, Raff,
Schumann, Handel, Burgmuller, Reinecke, etc.
are beautifully printed on extra quality paper
and well bound.
If bought as Sheet Music these collections
would cost $5.00 or more each
Dance Waltzes for the Piano. 64 pages.
Easy Four-Hand Pieces (2d & 3d grades). 62 p.
Easy Pieces in Easy Keys. 56 p.
Easy Salon Music for the Piano. 64 p.
Favorite Duets for Violin and Piano. 60 p.
Forty Very Easy Piano Pieces. 64 p.
Four-Hand Recreations (3d grade). 62 p.
Marches & Two-Steps for the Piano. 62 p.
Very Easy Piano Duets (1st & 2d grades). 60 p.
Sold by Music Dealers or mailed as above.
OLIVER DITSON COMPANY
B131
Sept. 0, ISO Tremont St., Boston
We have also adopted another idea to help
you sell IMtson M u s i c . Every catalog that
we issue hereafter will bear this imprint:
" Insist on the Ditson Edition — everything
contained in this catalog can be obtained of
your own music dealer. If he is unable to
supply, send us his name and send the order
to us. It will be promptly answered."
__ We are going to keep this thing up, and to
make- Pitson-products the easiest to sell and
the most satisfactory to liandle.
Music, Musical Merchandise
AND
Musical Instruments
in the greatest variety, largest stock, and at
the lowest prices that can be shown by any
house in the world.
Our Musical Instrument Department is up-
to-date and complete.
It means $ $ $ $ $ to you to do business with
us, and you can't do better than begin now.
Write to-day for Discounts,
Terms, etc.
OLIVER DITSON COMPANY
150 Tremont Street, Boston
The plan of preserving the voices of the
great men of the present generation for the
future by means of phonographic reproduc-
tion is at last about to be realized. The sug-
gestion has been frequently discussed of es-
tablishing a living pantheon, to be carefully
preserved for the benefit of civilization cen-
turies hence. As a rule, however, the public
has refused to take the phonograph seriously
or as anything more than a toy. Within a
few days, however, phonetic archives have
been formally established at Harvard Univer-
sity, in the Congressional Library and in the
National Museum at Washington. A similar
collection is contemplated at Yale.
The three phonetic archives recently estab-
lished have commenced their collections with
several excellent reproductions of the voice of
the Emperor of Germany. The cylinders
were prepared under the direction of Dr. Ed-
ward W. Scripture, the psychologist of Yale
University. Two cylinders were prepared
with the Emperor's assistance. One of these,
intended especially for Harvard, contains the
Emperor's observations on Frederick the
Great; the second is a short disquisition on
"Fortitude in Pain."
The advantages of such a collection to the
present as well as to the future are of course
endless. It seems extraordinary that, in view
of the comparatively trifling cost of such an
enterprise and its immense service to art, to
history, to science, to scholarship in general,
the founding of the great human pantheon
should be longer delayed.
One is likely to dwell upon the human in-
terest of such an enterprise. Its actual scien-
tific value is even more important; The use
of the phonograph has been unimportant
from a scientific point of view. It is capable
of a much wider utility than most people now
imagine. The phonetic survey to be carried
out by Cornell University indicates the possi-
bilities of one line of scientific investigation.
The study of language would, besides, be
greatly assisted by such records.
To mention one example, imagine that
among the autograms in this living pantheon
were extracts from the speech of the Greeks
and Romans. The study of these dead lan-
guages would be immensely assisted. A
thousand points in dispute, which have been
the subject of discussion for generations,
could be instantly determined. The study of
old French or early English, with its import-
ant effect ^pon the language as spoken to-
day, would be greatly facilitated. There
would be no lost languages in the future. '
PRETTY HARD ON CHICAGO.
Heinrich Conried told a story this week
about the visit he paid to Chicago before the
opera season began there. He arrived at the
hotel late one night and a reporter was await-
ing him.
"Well, what kind of opera are you going to
give us ?" asked the reporter. "Who are your
singers ?"
"I shall open the season with 'Tristan and
Isolde,' " said Mr. Conried.
" Tristan and Isolde!' " repeated the re-
porter, slowly, trying to write down the
names. "Are they new people ? Did they ever
sing here ? Seems to me we've had 'em with
Grau once before."
Herr Conried says he closed the interview
then.
WHAT IS AMERICAN MUSIC?
According to Constantin Von Sternberg the Plan-
tation Song Is Not African, but Has Been
Americanized From a Spanish Original and Is
Our National Folk Song.
In the course of an interesting article writ-
ten by Prof. Von Sternberg on the subject of
American music, he says in part: "There is
undoubtedly sterling merit in many works of
our native composers, and I prize them very
highly, indeed; but I cannot help admitting
that the one element is missing in them which
could impart a homelike feeling to the average
American listener. They are cosmopolitan.
Perhaps this is a virtue. I am not prepared
to say more on this score than that it does not
seem so to me. Whether virtue or fault, it
may be taken for granted that, as a nation, we
will never appreciate the ultimate meaning,
i. e., the quintessence, in the music of other
nations until we have an art music of our
own.
"Where is this music of our own to come
from? Undoubtedly from the plantation
song!
"I must not be understood to say that the
themes of our future symphonies must be
plantation songs. Far from it. But I do mean
that the plantation song should be earnestly
studied by our musicians in order that it may
influence their genius in the same manner and
degree in which Norse, German and Russian
folk song has influenced Grieg, Brahms and
Tschaikowsky. The melodic curve, the rhyth-
mic quality, the peculiarity of spoken lan-
guage as focused in this song, the sentiment,
in short, all the traits of the plantation song
are distinctly American. Hence, it is there
whence the truly American symphony must
come.
"That the plantation song has been identi-
fied with the negro is a mistake. The tempta-
tion for this mistake was great, I admit, but
a mistake it is nevertheless. For the Ethiopian
has no song, in our meaning of the word.
Africa does not know our diatonic scale. The
negro did not bring the plantation song with
him when he was imported by the early Span-
iards. He learned it from them. True, the
Spanish original has filtered through the
negro mind by its purely oral transmission
through these many generations, and in this
process it has acquired its weird and plain-
tive note. But by this very process it was
also—so to speak—translated into English.
Its rhythms were little by little changed so as
to <7on fr >rm to the cadence of English speech.
"We need only to look at the texts of the
plantation songs to find that they never treat
of Ethiopian traits."
ETTA EDWARDS, Vocal Instruction, Steinert Hall,
M RS. Boston,
Mass.
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