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THE MUSIC TRADE
REVIEW
FRITZ KREISLER'S DEBUT.
VOLUMES OF GREAT MERIT.
Fritz Kreisler, the great Austrian violinist,
who is coming to this country in January next,
after an absence of three years, is to be intro-
duced by Henry Wolfsohn in a special orches-
tral concert which will be given in Carnegie
Hall early in the new
year. As one of his num-
bers he will play the
Brahms concerto j a com-
position with which Kreis-
ler won the hearts of the
English critics and a work
which Kreisler interprets
as no other violinist has
done since the days of
Joachim when he was in
his prime. I t is composi-
tions of this character in
which Kreisler is at his
best. His interpretations
of Bach, Beethoven and
Brahms, leaves him with-
out peer among contempo-
rary violinists. In Eng-
land, where Kreisler has
won his greatest successes
during the past two years,
it is said that his tech-
nique would dazzle even
the most ardent admirers
of Kubelik. As for the
balance of his great gifts
enough is said when we
quote the critic of the Bir-
mingham
Gazette, who
said, "that Kreisler is the
greatest violinist since
Joachim," and the same
writer mentions also "that
he heard Joachim play
when h e was twenty-
eight," the same age as
Kreisler is now. Kreis-
ler's recent appearances in
Europe were veritable tri-
umphs, and it is agreed
that he is now in the very
flower of his art.
Three Recent Additions to the Musicians'
Library Which Are of Sterling Merit.
The Oliver Ditson Co., Boston, have added
three new volumes to their Musician's Library.
THE COST OF MUSIC STUDY
In Germany and America Compared—Little
Difference Where Leading Teachers Are
Employed.
FBITZ KltEISLER.
D'ALBERT'S GREAT SUCCESS IN BERLIN.
Eugene D'Albert, who is expected here for the
purpose of entering upon an American tour, had
a tremendous success on his last appearance in
Berlin. I t is unanimously conceded by the
critics that he never played so well—-with such
wonderful delicacy, charm, finish and esprit.
Judging from the views of the various critics,
which were practically unanimous in praise of
this artist, a great treat is in store for lovers of
the best in piano playing when D'Albert opens
his season. It is interesting to note that D'Al-
bert, while only forty years of age, has already
composed eight operas, beside two concertos and
a symphony, an overture, two string quartettes,
many piano pieces and songs, and the violoncello
concerto which Mr. Hekking will play to-day at
the Philharmonic concerts.
UNIVERSITY STUDENTS AND MUSIC.
With a view to the encouragement of art in
this city, Mr. Conried has decided that the three
most promising music students at Columbia Uni-
versity, the New York University, Barnard, the
Normal College, and Packer School, Brooklyn,
shall be admitted free each year to all the per-
formances at the Metropolitan Opera House. The
winners of this privilege will be announced at
the close of each scholastic year, and will have
the freedom of the Metropolitan throughout the
following season.
STRAUSS' NEW OPERA.
Richard Strauss is working on a new opera,
"Salome," based on Oscar Wilde's play of that
name. It will be produced soon in Munich.
bruster gives a brief biographical sketch of the
composer, a discussion of the characteristics of
the music dramas, a bibliography, and a chrono-
logical table of Wagner's life and works. The
words of the lyrics are both German and Eng-
lish, and there are numerous suggestions for the
proper performance given in the form of foot-
notes.
Musicians are under a deep debt of gratitude
to the Oliver Ditson Co. for giving us such
authoritative editions of the works of the great
masters and put forth, as they are, at a reason-
able price, they will do much to inculcate a
greater love for the highest forms of music.
One containing ten of Liszt's Hungarian Rhap-
sodies, edited by August Spanuth and John Orth;
the other two being series of Wagner lyrics, one
for tenor, the other for soprano, both edited by
Carl Armbruster. These volumes are beautiful
specimens of book making, carefully edited and
produced. It is not too much to say that noth-
ing like them has ever been produced in this
country. For the Liszt Rhapsodies, Mr. Spanuth
contributes an introductory essay on Liszt's rela-
tions to the Hungarian folk music, and his use of
it in artistic composition.
Of the vexed question as to the origin of Hun-
garian music, Mr. Spanuth cites the now gener-
ally accepted theory that attributes to the Mag-
yars or native Hungarians the rhythmic features,
and to the gypsies the characteristic ornamenta-
tion, adding that "this looks more like a com-
promise than the fruit of thorough scientific in-
vestigation." Mr. Spanuth himself is clearly
inclined to believe, with Liszt, in the gypsy
origin of Hungarian music. Liszt realized that
the peculiarities of this music rendered it un-
manageable in symphonic treatment, and rescued
it for art by giving it "a characteristic form to
dwell in, a form all its own and filled with noth-
ing but the ingredients of its best features."
Some suggestive and valuable advice is given as
to playing the music, and there is a bibliography
of books and articles about Liszt.
Mr. Armbruster's selection includes arias and
passages from all Wagner's works, from "Rienzi"
to "Parsifal." There is a good deal of daring in
presenting some of them as pieces to be sung as
separate excerpts; presented thus they have a
fragmentary character. Such is the extract en-
titled "Tristan's Vision," from the third act of
"Tristan und Isolde," and some of those from
"Die Walkiire" and "Siegfried."
Mr. Arm-
The subject of music study in Germany and
America and cost, comparatively in both coun-
tries, is discussed very interestingly by J. P.
Cooke in The Etude. He says:
"The terms for tuition are very low, as is the
case in most European music schools, but it
should be remembered in this connection that
many things go to contribute toward making the
rates charged really very little different from
those received for a similar amount of musical
instruction in America. The American teacher
realizes the necessity of making his work as con-
cise and succinct as possible. The European
teacher expects the pupil to study a considerable
length of time, and imparts his knowledge at a
rate very much slower than that of his Ameri-
can colleague. Moreover, the pupil is rarely, if
ever, in a 'private' class, but must share the les-
son hour with three, four, and often as many as
sixteen others.
"Considering the rate of exchange and various
other conditions which have been intimated in
the previous articles in this series, the rates are
really very little, if at all, different from those
charged by the average 'good teacher' in the
United States. So the yearly tuition fee of from
160 to 300 marks cannot properly be estimated
until one recognizes the foregoing conditions.
Wind instruments, violins, etc., can be rented in
Weimar for seventy-five cents a year. Pupils are
allowed one hour's practice daily upon one of the
school pianos."
GRAND OPERA'S AUSPICIOUS OPENING.
It is conceded that grand opera is a great pub-
lic educator in things musical, therefore, it is
a source of pleasure to be able to congratulate
Herr Conried upon the beginning of this, his sec-
ond season, as director of the Metropolitan Opera
House. The operas thus far produced show a
vast improvement over those of the past year;
his repertory at the beginning of the season is
adequately large, and the whole vast machinery
of opera is moving with fewer squeakings.
AN ITALIAN PROGRAMME.
Last season two new Italian operas were pro-
duced at Milan—Puccini's "Madame Butterfly"
and Giordano's "Siberia"—but neither of them
had a success at all comparable to that of Wag-
ner's "Rheingold " which had nineteen perform-
ances. This season, strange to say, none of these
operas is in the repertory. Perhaps the directors
believe in rotation, and there may be wisdom in
their policy. The operas chosen for this season
are "Tannhauser," "Aida," "Don Pasquale,"
"Figaro," "The North Star," and "Der Frei-
schiitz." Four of these six are by German com-
posers, a significant sign of the times. What has
become of the "Young Italian School?"
LIBRETTISTS GALORE IN ITALY.
Reproached by some Italian journals for under-
taking to compose music to a French "book,"
Mascagni invited the librettists among his coun-
trymen to send him specimens of their wares.
He received no fewer than 283.