Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
December 5th, 18S1.
THE MUSICAL CRITIC AND TRADE REVIEW.
115
Another musical phenomenon advertises the fol- when he gets left—and against that contingency
THE LADIES' PHILHAEKCONY.
le certainly ought to get a little profit for his
r I ''HERE is no diminution in the crowds that owing:
CENTS A LESSON: MME. 8PINOLA, PROFE93OR wares the same as any other business man."
Jl nightly frequent Koster & Bial's Concert
Hall. After nine o'clock you cannot get a seat. 50 Singing and Piano; pure Italian method.
The aisles are choked up with men about town,
" Pure Italian method for fifty cents 'a lesson ! "
professional men, bankers and clerks and gentle- There's millions in it." The Italian method has
men of staid and clerical appearance. There is many advantages and a great many disadvantages,
always a large German element present, a sprink- but the "pure " method for only fifty cents a les-
T has often occurred to me that it is a lucky
ling of pretty girls and pleasant faced matrons.
thing for a great many people that all of us do
son calls for immediate support. Our local
The place has heretofore held its own in popular teachers of vocal music have been charging from not think alike ; that some differences of opinion
estimation, but in recent months its receipts have two dollars to five dollars and more per lesson, prevail; that things assume a variety of shapes and
greatly increased. This has been due to the and we call their attention to the competition. 'orms if viewed from different points of view.
Ladies' Philharmony—a skillful orchestra of eleven The woman who advertises thus is sure to make a While losing some precious time recently at a
young women—who are assisted by musicians of jrand success if she sticks to the "pure."
joncert, this thought came to me with redoubled
the sterner sex. A popular feature of the pro- Still another musical wonder is found in force, and on the strength of it I concluded to send
gramme is the piquant singing of Mile. Juliette ' O'Neill." He announced the following:
ou some experiences I had.
Laurance from Les Folies Bergeres, Paris; but the QOCRATES LEARNED TO PLA.Y ONT SEVEN DIFFERENT A lady was performing a Bach fugue on the
burden of the evening's entertainment is thrown on JO musical instruments at 80 years of age. ProfeHsor O'Neill piano. She seemed to have been completely lost—
gaarante s to teacU old or young by note 47 airs in singing, organ n the notes. After the fugue subject was started,
the fair shoulders of the Ladies' Philharmony.
piano in a quarter for $6. Teachea the Italian method for
nothing of fugue could be detected in the prepon-
On one evening, the ladies appear dressed in or
voicn; lessons evenings.
derating effect of pianoforte FF's, and the utter
tasteful toilets of blue or pink, which are varied on
the succeeding night by dresses of quite another This is evidently catering to the old hunkers. dislike she displayed towards the soft pedal.
fashion. The Directress, Mile. Julia de Bertrand, It is a serious loss to the literature of music that She protended to have an overpowering admi-
displays her charming personal advantages in ' O'Neill" does not specify the seven different ration for the great Johann Sebastian Bach, and
marvelous millinery and the style in which she musical instruments old " Soc " learned to play. never failed to announce her worship of the master
manages her imposing trail should be classed But "O'Neill" beats Socrates and throws his whenever an opportunity offered. She does so
among the fine arts. She calls the attention of the musical talents completely in the shade. He ven now after having done her utmost to injure his
orchestra with the air of a queen commanding her ' guarantees" to teach " by note" 47 airs in sing- reputation by her performance. At least, I think
subjects. When the tempo should be quickened ing, organ or piano in a quarter for $6. Socrates so, but all of us do not think alike, you know, and
she plays a lively rat-tat on the music stand with only learned to play seven different musical instru- many good, innocent people who were present,
her baton, that instantly brings laggard perform- ments, but " O'Neill" guarantees "to teach" forty- applauded the young lady when she had finished
ers into line. Then her momentary anger vanishes seven airs for $6, or about thirteen cents a piece. the assault, as I may justly call it.
and with a smiling face she victoriously leads the This is discounting Socrates with a vengeance.
As I left the hall I inadvertently heard one old
orchestra to the end of the score. The Philhar-
gentleman, who looked like a musical pedagogue,
mony plays some selections with very considerable
say to another, who appeared to have been brought
TICKET SPECULATOBS.
credit to themselves, often with dash and bril-
up under conservative influences, "Poor Johann
liancy, and with that evenness and pleasing effect
ARD things are frequently said in the news- Sebastian ! Everybody nowadays who wants to get
that come from long experience and painstaking
papers about speculators in theatre tickets. pupils gives a recital, and will not leave Bach off
rehearsals.
There are two sides to the story. While the pub- the programme. Why don't they play works by
The audiences are necessarily of a mixed char- lic are forced to pay a premium for the best seats other great composers like Pattison, or Hopkins,
acter, but are quick to appreciate a skillful render- they are also accommodated in many instances or the many unmentionables ?"
ing of favorite pieces.
through the agency of the speculators and the But again you see, ojnnions differ greatly. I
Mile. Bertrand is directress of the following theatre ticket offices. These points were recently for instance think that these composers are not a«
members of the orchestra: Mary Chulpsa and urged upon a reporter of THE MUSICAL CRITIC AND great as the professor rates them. My private
Anna Massauck, first violins; Anim Gebhardt, TRADE BEVIEW who conversed with promiuent opinion has often been uttered, and I never hesi-
tated to say that the compositions which have
viola and first violin; Emilia Korn, Theresa Glas- speculators interested in this line of business.
berger, Anna Stocklow and Anna Panhaus, second One gentleman of long experience in a theatre iropped from the ends of their pens do not deserve
any prominent places in musical lexicons. It is a
violins; Theresa Hamann, violoncello; Lina Bil- ticket office said:
lina, basso, and Anna Navoni, flute.
" The public think we run no risks and always lucky thing for these composers that we all do not
Mile. Bertrand studied music in the conserva- reap some profits. That's a big mistake. It isn't think alike.
tories of Frankfort and Prague. The majority of all clear gain by any means. If that conception of Some time ago, Miss Roosevelt gave a concert
the other members of the orchestra received their the theatre offices were correct it would be true and subsequently she gave another. Of course,
musical training in Vienna. The orchestra has that we were charging high prices. You see the she sang on both occasions. I noticed a gentleman
played in the principal cities of the world; in fact is that we get from the theatres a certain at the first concert who is in the electric light
London and Paris and in Syria, India and Egypt. number of tickets that we can return if we can't business. He has a good musical ear, as he calls
The directress, who is of Spanish extraction, con- sell them. But if we sell those tickets and want it. He, however, does not know anything about
ducted an orchestra in the theatre in Madrid and more we have to buy them outright and the loss is music. How do you like her singing ? I inquired,
in South America, Brazil and Peru. In Brazil, ours alone if they are not sold. We have to buy desirous of getting at the impression which this
Don Pedro gave her a diamond ring as a token of first night and holiday tickets and take the risk of " cantatrice " makes upon people who know noth-
admiration of her skill as a violin player and not disposing of them. Speculators put thou- ing whatever about music.
leader of an orchestra. When the exiled Queen sands of dollars into tickets for one night's per-
" I think she is first-class, I shall surely coma
Isabella was in Paris, Mile. Bertrand played in formances and sometimes get badly bitten,
to the next concert. I know where to get tickets."
her presence and her performances were also en- knew two speculators who lost $4,000 o n the first
He accompanied his answer with a sly wink of
joyed by the Presidents of the Central American Patti concert. You can't blame the theatres for the left eye.
Republic, Porta Rica and Nicaragua. She was selling out a large block of tickets to the first man Now you see again, how fortunate the " canta-
presented to these dignitaries by the German and who comes along. That's business."
trice " is that differences of opinion prevail.
Austrian Consulates.
" What about the speculators in front of the I for my part would not go to the next concert
in which Miss R. sings, as I hate above all things
Seven members of the orchestra performed many theatres?"
months in San Francisco, New Orleans and Chi- " Well, there are some black sheep among them to hear a song delivered with false intonation and
cago to crowded houses. Mile. Bertrand, Mme. as there are in any line of business, but the faults improper vocalization combined with faulty phras-
Hamann, and Miles. Korn and Billina attracted of a few are attributed to the whole theatrical ing. It grates on my auricular nerve and as a con-
much attention in some of the leading European speculative interest. That's all wrong. A man sequence keeps me outside of the concert hall.
theatres and other members of the orchestra met who misrepresents the location of the seats he But all people do not think alike and this lucky
with success in the far East in Asia, Bombay, Cal- sells can be arrested, but the public, a portion at condition of affairs give certain persons oppor-
cutta and Alexandria. The manager of the Ladies least, mistrust them, and will sometimes patronize tunities to continue in careers for which they are
Philharmony is Louis Hamann, timpanist, who the box office when they can buy better and not at all suited.
has accompanied the orchestra on its tour around cheaper tickets of the speculators outside. You I recently met a manager, who formerly took
the world.
see the latter will often sacrifice tickets after a per- orders for bawling instruments and worked his
way up—stairs where he is now manager. He is a
Koster & Bial hare engaged the Philharmony formance begins simply to save themselves."
for six months, the engagement running to May
" What advantage has the public in patronizing first-rate fellow but knows nothing about art or
artists except how much the latter are entitled to
1. At that time, it is probable that the engage the theatre ticket offices'?"
ment will be continued if their present success
"Well, suppose you make up your mind at the ask for a song or a piece. He often selects vocal-
attends their performances.
last moment to go to the theatre. Isn't it a great ists and places them in concerts and bases his
advantage to be sure, under ordinary circum- opinion upon his own ignorance. Yet he contin-
ues to do a small business of great pretentions due
stances, of getting a good seat?"
" Then, again, if you telegraph to a good ticket altogether to the differences of opinion that prevail.
MONG the advertisements found in the daily
press the following attracted our attention: office for first-class seats you can depend upon it Artists are anxious to gain his favors in order to
CCOMPANIMENT PLAYING TAUGHT IN ONE LE8SOIS that you will get them if they can be had in the secure engagements. He has allies of consider-
A lor $2, including a Mason's Chart.
city. At the theatres, on the contrary, they have able influence and thus is enabled to arrange mu-
The Mason's Chart indicates that this accompani no time to go hunting around for seats if they are sical matters with less difficulty than most man-
ment refers to the Piano, otherwise we might have not in the box office and will not do so. And if agers.
He thinks he is doing a great deal of good, but
considered it guitar or banjo accompaniment you do not show up at exactly the right moment
What kind of accompaniment can be taught in your seats may be sold to somebody else. I have I differ very much with him.
one lesson is mysterious to us; even if the chargt four boys who do nothing but run around the city On the contrary, he is really injuring the pros-
is $200, much less $2.
and get seats for customers. There are 5,000 pects of many worthy artists by selecting vocalists
We venture to say that one song or instrumenta people in New York who patronize the ticket and instrumentalists who are on friendly terms
solo has difficulties sufficient to make at least tw< offices. You see a man should pay well for a good with him, })lacing them in concerts and giving
lessons necessary. Why not make it two lessons article, and what we make is only a fair percentage them a continuous number of engagements, while
and thus insure a certainty. We know of accom on our risks. Our expenses, too, have to be met many artists of superior merit are entirely dis-
panists, for instance a certain Grecco-Roman piano But, printing, advertising, etc., soon run up a carded by him and cannot get a hearing where his
wrestler, who would hail such a teacher with enthus bill. Last month, I spent #150 in expenses. No influence prevails. It is a sort of combination
iasm.
sir, the ticket-seller's life is not a happy one— plan working well enough in the estimation 6i tho
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