Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
February 20th, 1881.
33
THE MUSICAL CRITIC AND TRADE REVIEW.
opus 200, for piano and orchestra, and Schubert Songs by Miss Henne. It is
a queer phenomena which is usually presented by the audiences of the Pea-
body. It consists of an ever-recuring applause to every number performed.
No matter how a composition is played or sung, the good natured people
who patronize the Peabody concert are sure to demand an encore, which,
thank heavens, they do not get every time. No discrimination is exercised
in this respect, and as a matter of course the director is highly elated at this
glorious state of affairs. But you will admit that there is rarely a concert
during which some of the numbers are not indifferently performed. I do
not here refer to Peabody concerts, I simply refer to concerts in New York,
Boston, and Cincinnati. Here in our Utopian village a series of Peabody
concerts take place annually, during which no mistakes ever occur, the
director, orchestra and rehearsals all tending towards a perfect perfection in
musical art. Notwithstanding this remarkable freak in music and nature, I
am compelled to inform you, between you and I, that this second Peabody
farce—oh! I beg your pardon, Peabody concert—was as disastrous as all the
preceding] ones. One of the requirements in all orchestras performing sym-
phony programmes is the ability of the individual performers to play upon
their respective instruments. When an orchestra is organized, the very first
question that is asked is this: What instrument do you play? answer, so or
so. But this question is entirely superfluous at the Peabody. Anybody or
everybody is packed into the orchestra, and as a natural result a very few of
the performers are able to do justice to a Strauss waltz, much less to a Bee-
thoven symphony or Berlioz overture. Another important factor in sym-
phony concerts is a director. Somewhere onjthis mundane sphere symphony
concerts may take place without a director, but we have not yet received a
cable from that resort, The Peabody does not indulge in directors. The
young composer of arctic and antarctic suites who presumes to know how to
do this kind of business, should soon announce his final retirement after six
years of fiasco.
He seems to be flattered on account of the encomiums bestowed upon
him by the audience. But let us remind him that the same audience which
applauded every one of the badly performed parts of the Beethoven Sym-
phony, was the same audience which broke in upon him before he could
complete the accompaniment of Shuberth's "Ungeduld," sung by Miss
Henne. Mr. Hamerick manifested his discomfitiire too apparently not to be
noticed, and this appeared to be so much more uncomfortable as the ratio of
applause was greater. Surely Mr. Hamerick connot feel himself flattered on
account of the applause of such an audience, Yet he bears his burden of
$3,000 for nine months' luxurious indulgence with apparent composure.
How unequally are the treasures of this earth distributed ! Mr. Hamerick
is fully aware that no single mark of expression was noticed, and yet he par-
took of all the praise, knowing full well that none was deserved. It appears
that things at the Peabody are growing from bad to worse.
Among other musical notables in our midst we must record Mr.
Arbuckle, the cornet player. He appeared at the concert of the Eoyal Arca-
num Lodges, and might have done justice to the pieces had it not been for
the wretched and unmusical accompaniment of one J. Harry Deems, sur-
named the Professor.
The genuine (?) Spanish Students are here at present, having performed
among others at the Press Banquet to President Hayes, which took place at
the Eutaw House on Saturday, Feb. 12th.
We have also been regaled by music from Oscar M. Newell, the suc-
•essor (?) of Gottschalk. Poor G. Besides this our city has unearthed a
rentable composer of " Garfield's Inauguration March." The title-page is
Baid to be a most beautiful piece of noteworthy work. About the composi-
tion nothing can be mentioned in a musical paper. The name of this com-
poser is the German of "steal." Eh ?
Trade has been languishing. There seems to be a disposition to defer
purchases until the spring. This is specially noticeable in the organ trade.
Tour Beatty article has attracted general attention.
KLASSICK KUSS.
desired. The principal points being warmly received, the interest of the first
two acts is divided between the ghost scene, Ophelia's aria, and the entrance
of the comedians.
The third act, which had been reported as dull and heavy, proved to be
interesting in the highest degree, and M. Manoury created a decided sensa-
tion by the skillful manner in which he rendered the scene with his mother.
He has been ably seconded by Mile. Medea Mei, a young debutante gifted
with a fine voice and dramatic talent, who achieved a fine success in the dif-
ficult and unpleasant role of the Queen.
With regard to this part I am informed by Sig, Depanis himself of a
fact which will be interesting to your readers, because it gives another in-
stance proving how greatly American talent is now appreciated abroad, and
especially by the impresarios 'of the Italian stage. Last summer, while in
Paris, Maestro Muzio introduced to Signor Depanis an American lady, Mrs.
Lelia Lowerre, a mezzo soprano (formerly a pupil of Madame Gazzaniga),
who had just arrived from New York and who had been recommended to him
by her recent teacher, Sig. Moderati. Sig. Depanis was so struck by the
beauty and dramatic quality of her voice, that he wished her at once to sign
an engagement for his theatre, for the roles of Massenet's new opera,
" Erodiade," and the Queen Gertrude in " Hamlet,"both of which he intended
to produce. She went accordingly to Italy, but a matter of importance re-
called her unexpectedly to America, and rendered it necessary for her to
break the contract.
Returning to the performances of Ambroise Thomas' Opera, I must say
that the fifth act failed to make a great impression, owing to the lateness of
the hour as well as to the fact of the intensity of the mad scene, the gen-
eral interest could no longer be sustained. In this scene Mile. Donadio
showed herself to the greatest advantage, and was the recipient of an enthu-
siastic ovation.
In addition to these three artists, a word of eulogy must be spoken con-
cerning Sig. Viviani, who gave a dignified interpretation of the role of King,
and won a good share of applause in the second finale. Also, Signor Navar-
rini, in his double role of Ghost and Gravedigger, deserves a word of men-
tion. I must pay a tribute of admiration to the talent and conscientiousness
displayed by Sig. Pedrotti, one of the finest conductors of Italy, and who,
although not a native of Turin, is looked upon with just pride by the
Turinese as a countryman, on account of the manner he has developed the
musical taste of their city.
Sig. Depanis is to be complimented for the sumptuous setting of the
opera, the beauty of the scenery, painted by Sig. Fontana, winning him a
public call.
YANKEE.
OALESBURG, ILL.
GALESBUKO, 111., Feb. 12, 1881.
N spite of the worst storm of wind and snow of the season I attended a
very enjoyable concert, given at the Opera House by the " Harmonia
Quartette," consisting of Mrs. J. A. Farwell, Mrs. J. Balfour, Mr. Chas. H.
Clark and Mr. H. L. Sloan, Mr. T. F. Baird, accompanist, all of Chicago,
assisted by Miss E. Cara Pratt, pianist of our city, and Master C. North, of
Kewanee, 111. Miss Pratt excellently performed from memory Liszt's
" Rhapsodie Hongroise," Chopin's "Nocturne" in G flat, and a "Gavotte "
by Silas.
The concert concluded with the 1st and 2nd acts of " Martha," in cos-
tume. I t was well rendered, and called forth several hearty encores.
Mrs. Balfour did some fine acting as well as singing.
I
BBUNSWIG.
A DISSATISFIED BALTIMOEEAN.
BALT.,Feb. 7th, 1881.
Charles Avery Welles, Esq.
MY DEAB S I B : AS a subscriber to THE MUSICAL Crane AND TBADE
REVIEW, and an old member of the Haydn Musical Association, I desire to
call your attention to the injustice your correspondent, " Klassick Kuss,"
MILAN.
does to the Haydn in reporting to you in the manner he has been doing. I
AMBBOISE THOMAS' 'HAMLET."—AMEBICAN SINGEBS IN ITALY.
refer now to no particular number, but to all where the Haydn is mentioned.
In the last number, in referring to the criticisms in the daily papers in
MILAN, ITALY, Jan. 25, 1881.
ACCEDE with pleasure to your request that I should contribute a num- regard to the Haydn and Peabody, he says, the one " farce " is treated just
ber of musical and artistic letters for your journal from the cradle land like the other. The Haydn seldom or never advertise, and if we had a flat-
of art. Although nominally a resident of Milan, where I am busied with my tering notice, as we assuredly had, in all the daily papers of the concert, it
studies and occupations, I am frequently called where any important musical was not paid for in money or tickets. I have the word of Mr. Fulton, of the
event takes place in the neighboring Italian cities, and the production of American, that the Peabody paid them over $500 for advertising last year,
" H a m l e t " of Ambroise Thomas at the Teatro Regio has accordingly and as treasurer of the Haydn, I can make oath that $30 per year will pay
brought me to Turin.
all our advertising bills.
This opera has so far not met with the same success as " Mignon," by
The Haydn was organized in 1860, and is composed of about 48 profes-
the same composer, possibly on account of the facts that the title role sional and amateurs, performers on the various string, reed, brass, &c,
requires an exceedingly good actor, and that the tenor has been given only a instruments. They give four concerts every year, assisted by some solo
secondary role. With regard to this, I am informed that the composer, at player and vocalist from New York, Boston, &c. Their programmes are of
request of the great tenor, Campanini, who called iipon him last summer on a lighter character, such as I imagine they play at Koster & Bial. Their
his way to Italy for this special purpose, has agreed to transpose the title concerts never fail to please, as the crowds which attend these concerts
role from that of a baritone to a tenor part; and if it is true that Mr. Maple- attest. Their concerts are subscription concerts, no tickets being sold
eon intends producing this opera in its remodeled form during the spring under any circumstance, and I am happy to say that the subscription this
season in New York, it will be a matter of general interest to the musical year among our friends and patrons is larger than at any time heretofore in
world, and Campanini will undoudtedly give as powerful an interpretation of the history of the Haydn. When our patrons demand heavier programmes,
this character as he has to his creation of "Lohengrin," Faust in Boito's we will give them, but we are dependent on the public, and we will continue
" Mefistofele," and Don Jose in '• Carmen."
in the future, as in the past twenty years, to give them what they want.
Its initiatory performance in Turin attracted many lovers of music, as We do, however, occasionally, play a Haydn or Beethoven "Symphony."
well as critics of this and other Italian cities. The theatre was filled with a Since the organization of the society it has never failed to'give their regu-
brilliant audience, the boxes and parterre being crowded with beautiful lar series of concerts, which is another proof of its patronage. I t is hard to
ladies, superbly attired, who, contrary to the habits generally ascribed to understand what object "Klassick Kuss" can possibly have in so misrepre-
senting and abusing the Haydn. Particularly is this the case since the
them, kept a religious silence throughout the entire performance.
Above all, I am glad to state that the efforts of the impresario, Sig. Oratorio Society has been spoken of. There must be some interest at the
Depanis, to give to this opera the important advantage of a brilliant mise en bottom of all this. The last Haydn Concert, on Jan. 19th, was the most
scene, were rewarded by a complete success, and the prophecies of those who pleasing, take the lout ensemble, which the Haydn ever gave. The two over-
tures, '• Oberon " and " Fest," the latter by Leutner, were played with great
had predicted a failure were effectually overthrown.
The interprete of the character of OpJielia, the beautiful, young, and precision. Miss Sallie B. Ross made her debut in Baltimore, if not in
•elebrated Mile. Bianca Donadio, who appeared for the first time upon this America, with the Haydn. At least she told me she had never sung in
stage, received a kind though somewhat reserved welcome, the audience public in America. Although she has a good soprano voice and sings well,
evidently intending that she should earn the laurels before wearing them. she failed to please our patrons, as she does not sing any ballads whatever.
This was not a difficult task, for she soon won their warm sympathy, M. During the twenty years of the existence of the Haydn we have had quite a
Manoury sharing in the applause bestowed upon her for the beautiful rendi- number of artists, and the only society which has brought singers of note to
tition which they gave—in spite of their evident emotion—to their first duo. Baltimore. We have had among others, Miss A. L. Cary, Miss Clara L.
Once this nervousness overcome, the performance was all that could be Kellogg, Brignoli, Peakes, Campbell, Habelman, Ole Bull, Fannie Kellogg,
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