Music Trade Review
Issue: 1882 Vol. 5 N. 12 - Page 3
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VOL. V.
No. 12.
NEW YOEK, JANUARY 20TH, 1882.
LECTURES A NOVELTY.
such institutions can exist at all, but that many
of them are really in a flourishing condition, is Reporter—What is the cause of it?
proof enough that the people, even in Europe,
Mr. Eberhard—Because they are a new thing,
VIEWS OF EENST EBERHARD, OF THE GRAND are not all blind to merit, but that many of them and something which appeals to the "thinking
are able to discriminate.
powers" of the listeners. Audiences, as a rule,
CONSERVATORY OF MUSIC.
Reporter—Are there many such institutions don't want to think very hard. Therefore, our
carried on by individuals?
ecturers have to work their way, and they will
NEW YORK COMPARED WITH EUBOPEAN CITIES—
Mr. Eberhard—Certainly, and they are growing command their circle of patrons in the same man-
INCOMPETENT TEACHERS IN MUSIC SCHOOLS
every day, and new ones springing into life con- ner, in the course of time, as other innovations.
ABROAD — PRIVATE INSTITUTIONS
tinuously. Why, sir, only a few days ago I re- On Wednesday, February 1, I shall deliver, my-
DEPENDENT ON MERIT
ceived this letter from Paris, informing me of the self, a lecture on "Musical Instruction," when I
ALONE.
establishment of a new musical conservatory, and shall be happy to see you again—at our new build-
asking me to recommend the same to our country- ing, 46 West Twenty-third street.
REPORTER of THE MUSICAL CRITIC AND men when they go to Paris, and to have its name
TRADE REVIEW called recently on Mr. Eber- registered at the Herald office. The gentleman who
hard, the Director of the Grand Conservatory of intends to run that concern, or who is running it
THE VALLERIA ENGAGEMENT. '
Music, No. 21 East Fourteenth street, shortly to be now, probably, as you can see from his circular, is
at 46 West Twenty-third street. The gentleman not only prepared to have his pupils learn music,
PROMINENT opera subscriber said re-
was, as usual, very busy, but cheerfully an- but sixteen languages besides, including Chinese,
cently to a reporter of THE MUSICAL CRITIC
swered the questions put to him.
AND TRADE REVIEW, in reference to the Valleria
Japanese, Hebrew, Persian, Arabic, etc.
Reporter—Do you consider New York a musi- Reporter—Please let me examine that circular. matter: "My own impression is, that Col. Ma-
cal city?
I would also like to read the letters which you re- pleson took his chances when he advertised Val-
Mr. Eberhard—To some extent New York is a ceived. [After perusing both.] Well, Mr. Eber- eria as one of his prima donnas this season. He
musical city, because we have here a great many hard, really it is immense. What do you think has not been able to keep his promises to bring
out certain operas, in consequence of his failure
musicians; I believe about 6,000. If this large of it?
o secure her. The Colonel has made a mis-
number of musicians are able to pursue their pro-
HOW PATRONS ARE SECURED.
take. Many persons became subscribers this sea-
fession, it is plain that there must be many
Mr.
Eberhard—What
do
I
think
of
it?
Well,
son with the expectation of hearing Valleria.
thousands of persons who are supporting them,
the "Monsieur" is up to the times; we might learn They have not heard her, and they could right-
i. e., who employ or patronize them.
from him yet. You see, on the circular there are fully demand their money back. If this was re-
NEW YORK'S MUSICAL STATUS.
"patrons" named from every part of the world. fused, they could sue for damages, and recover.
Reporter—How does New York compare with Ipreaume, the object of his writing to me is to get I don't mean to say that Valleria would have car-
European cities?
a reply, and he probably will add my name as a ried Col. Mapleson's season alone, but if he doesn't
Mr. Eberhard—New York is a young city in patron representing America. Some enterprising do something in his spring season that will fairly
comparison with European cities, and as the foster- people in this city, of the same stamp or persua- astonish New York opera-goers, I don't know why.
ing of the musical art is always the finishing sion—as you wish—call this forming a "Board of As far as his own interest is concerned, he should
touch of the national development, if I may Supervisors."
give a spring season. Certainly, Minnie Hauk
express myself so, it is perfectly natural that the
cannot sustain the Colonel's whole season, al-
NEW YORK HOLDING ITS OWN.
percentage of music-loving people may be larger
though as Carmen, she undoubtedly is very good—
Reporter—Now,
Mr.
Eberhard,
do
you
think
in European cities; at least, in some. It may also that other American cities can compare with New probably the very best prima donna in that role."
be that certain branches of the musical art flourish York favorably in regard to musical instruction?
" Speaking of jealousy in the Academy of
more in certain European cities, comparing them
Music," continued the piano manufacturer, "it's
Mr.
Eberhard—No,
sir;
they
cannot
compare
with New York.
surprising that Campanini should be jealous of
New York at all.
Prevost, Campanini is Campanini the world over,
Reporter—How so? What do you mean by with
Reporter—Why
not?
while Prevost is a greenhorn, and yet the great
that?
Mr.
Eberhard—I
said
before
we
have
in
New
tenor will sometimes be so jealous of Prevost that
Mr. Eberhard—For instance, my own branch,
about 6,000 musicians. This fact alone pro- he gets red in the face. I think he has more rea-
musical instruction. Music schools of all descrip- York
to some extent, a musical atmosphere, and son to be jealous of Ravelli, who is an artist."
tions flourish in European cities to a great extent duces,
the possibility of musical performances of a
—both private enterprises and such concerns as are gives
What can students hear in a
supported by the State, which latter concerns are varied character.
town? You know, yourself, nothing of
generally roosting places for the friends and pro- country
account. In New York, we have the symphony
AN INCOHERENT WORE.
teges of the ruling power. It is something like any
of Dr. Damrosch and Theo. Thomas, the
"civil service reform" from the Democratic concerts
N
READING
the published parts of "A Dic-
great concerts of the Oratorio Society, New York
standpoint, that is, let us keep all the good things Chorus, Vocal Union; Italian, German, French, and
tionary of Music and Musicians," edited by
and fat places for the faithful of the party.
English Opera by numerous companies of varied George Grove, D.C.L., we have often been tempted
INCOMPETENT TEACHERS ABROAD.
merit, and hundreds of other performances of a to call attention to defects, misstatements and a
general incoherency which characterizes the work.
Reporter—Well, you don't mean to say that all high order of all kinds.
We have determined, however, to remain quiet
the important positions in European music
SOMETHING ABOUT MUSIC LESSONS.
until we receive the last number of this "Diction-
schools are filled by incompetents?
Reporter—Well, what have all these to do with ary," and then, on looking through the complete
Mr. Eberhard—Not all, of course not; but a music
work, we intend to pay our respects to the author.
lessons?
great many. Look at the history of music, and
consider the cases of Palistina, Mozart, and Mr. Eberhard—If you speak of music lessons, Mr. Geo. H. Ellis, of Boston, who publishes re-
Berlioz. These are only three names, but they then they have, perhaps, not so much to do with views of Beethoven's Symphonies, sends us several
represent to us, so to speak, the beginning, the it. That branch belongs, anyhow, more to private of them, among which we find Beethoven's fifth
development, and the climax of the musical art teachers, as their sole means of support, and who symphony (C minor, op. 67,) reviewed by Mr.
up to our very present day. I could add a great may live in Yokohama or Porkopolis. But, sir, George Grove, if the pampklet in hand can prop-
many more, but, only for example, look at Mozart; I if you speak of the study of music and art, erly be called a review. We find a short introduc-
he died a pauper. Positions of influence were then you mean a combination of teachers, a con- tion by Mr. Grove, which fails to carry any par-
refused him because his compositions were not servatory of music properly organized and con- ticular idea of Beethoven's great work; in fact, it
considered to amount to much; and others, whose ducted. In the Grand Conservatory of Music requires more than one and a half or two columns
names have been long forgotten, held these posi- we have a combination of the very best talent for of matter to review a symphony like the C minor,
tions because they were courtiers, or the faithful teaching that can be found. Our students, after yet the whole pamphlet would occupy only that
servants of the party, as John Kelly would say. studying an opera, or oratorio, or a symphony, or space in THE MUSICAL CRTTIC AND TRADE REVIEW.
The glittering pomp of royalty has always a concerto with their teachers, can go to the Acad- We find various examples from the movements
great many admirers, and generally real genius is emy of Music or Stein way Hall and hear the whole of the symphony, with a few remarks of no partic-
ignored, because royalty can't use persons with work performed in its entirety, with full orchestra ular value and of no consequence to an inquiring
brains or progressive ideas; but they want "obe- —profiting and learning, of course, by listening to student, and the pamphlet closes with a long quo-
dient subjects," who will carry out faithfully the a good performance of the same, and acquire a tation from F. M. Berlioz on the filth symphony—
instructions coming from above, and consider it the mastery of the same which cannot be obtained this being really the meritorious portion of the
height of their ambition to try to please the royal without it. The teaching by example is what pamphlet.
the city of New York affords, and what other cities We fail to understand the purpose of the publi-
lord and master.
in this country cannot offer; for a student when cation. In order to find the examples, all that is
studying under my care can profit in one season necessary is to look through the score, where they
ABOUT PRIVATE ENTERPRISES.
Reporter—You spoke of "private enterprises." more than elsewhere in five years.
can be found in complete form. The remarks
I suppose you mean institutions carried on by Reporter—Do you ever have any lectures de- added by Mr. Grove do not constitute a critical
individuals?
review or analysis of this symphony and offer no
livered on musical subjects?
disclosures. Beethoven's fifth symphony cannot
Mr. Eberhard—Yes, sir; these are the institu- Mr. Eberhard—Certainly.
be analyzed in a pamphlet requiring about five
tions which have to rely on their real merits only,
Reporter—Are they well patronized?
and succeed by the same or go to the wall. That Mr. Eberhard—Not as well as they ought to be. minutes of reading.
TALK WITH A DIRECTOR.
A
A
X
VOL. V.
No. 12.
NEW YOEK, JANUARY 20TH, 1882.
LECTURES A NOVELTY.
such institutions can exist at all, but that many
of them are really in a flourishing condition, is Reporter—What is the cause of it?
proof enough that the people, even in Europe,
Mr. Eberhard—Because they are a new thing,
VIEWS OF EENST EBERHARD, OF THE GRAND are not all blind to merit, but that many of them and something which appeals to the "thinking
are able to discriminate.
powers" of the listeners. Audiences, as a rule,
CONSERVATORY OF MUSIC.
Reporter—Are there many such institutions don't want to think very hard. Therefore, our
carried on by individuals?
ecturers have to work their way, and they will
NEW YORK COMPARED WITH EUBOPEAN CITIES—
Mr. Eberhard—Certainly, and they are growing command their circle of patrons in the same man-
INCOMPETENT TEACHERS IN MUSIC SCHOOLS
every day, and new ones springing into life con- ner, in the course of time, as other innovations.
ABROAD — PRIVATE INSTITUTIONS
tinuously. Why, sir, only a few days ago I re- On Wednesday, February 1, I shall deliver, my-
DEPENDENT ON MERIT
ceived this letter from Paris, informing me of the self, a lecture on "Musical Instruction," when I
ALONE.
establishment of a new musical conservatory, and shall be happy to see you again—at our new build-
asking me to recommend the same to our country- ing, 46 West Twenty-third street.
REPORTER of THE MUSICAL CRITIC AND men when they go to Paris, and to have its name
TRADE REVIEW called recently on Mr. Eber- registered at the Herald office. The gentleman who
hard, the Director of the Grand Conservatory of intends to run that concern, or who is running it
THE VALLERIA ENGAGEMENT. '
Music, No. 21 East Fourteenth street, shortly to be now, probably, as you can see from his circular, is
at 46 West Twenty-third street. The gentleman not only prepared to have his pupils learn music,
PROMINENT opera subscriber said re-
was, as usual, very busy, but cheerfully an- but sixteen languages besides, including Chinese,
cently to a reporter of THE MUSICAL CRITIC
swered the questions put to him.
AND TRADE REVIEW, in reference to the Valleria
Japanese, Hebrew, Persian, Arabic, etc.
Reporter—Do you consider New York a musi- Reporter—Please let me examine that circular. matter: "My own impression is, that Col. Ma-
cal city?
I would also like to read the letters which you re- pleson took his chances when he advertised Val-
Mr. Eberhard—To some extent New York is a ceived. [After perusing both.] Well, Mr. Eber- eria as one of his prima donnas this season. He
musical city, because we have here a great many hard, really it is immense. What do you think has not been able to keep his promises to bring
out certain operas, in consequence of his failure
musicians; I believe about 6,000. If this large of it?
o secure her. The Colonel has made a mis-
number of musicians are able to pursue their pro-
HOW PATRONS ARE SECURED.
take. Many persons became subscribers this sea-
fession, it is plain that there must be many
Mr.
Eberhard—What
do
I
think
of
it?
Well,
son with the expectation of hearing Valleria.
thousands of persons who are supporting them,
the "Monsieur" is up to the times; we might learn They have not heard her, and they could right-
i. e., who employ or patronize them.
from him yet. You see, on the circular there are fully demand their money back. If this was re-
NEW YORK'S MUSICAL STATUS.
"patrons" named from every part of the world. fused, they could sue for damages, and recover.
Reporter—How does New York compare with Ipreaume, the object of his writing to me is to get I don't mean to say that Valleria would have car-
European cities?
a reply, and he probably will add my name as a ried Col. Mapleson's season alone, but if he doesn't
Mr. Eberhard—New York is a young city in patron representing America. Some enterprising do something in his spring season that will fairly
comparison with European cities, and as the foster- people in this city, of the same stamp or persua- astonish New York opera-goers, I don't know why.
ing of the musical art is always the finishing sion—as you wish—call this forming a "Board of As far as his own interest is concerned, he should
touch of the national development, if I may Supervisors."
give a spring season. Certainly, Minnie Hauk
express myself so, it is perfectly natural that the
cannot sustain the Colonel's whole season, al-
NEW YORK HOLDING ITS OWN.
percentage of music-loving people may be larger
though as Carmen, she undoubtedly is very good—
Reporter—Now,
Mr.
Eberhard,
do
you
think
in European cities; at least, in some. It may also that other American cities can compare with New probably the very best prima donna in that role."
be that certain branches of the musical art flourish York favorably in regard to musical instruction?
" Speaking of jealousy in the Academy of
more in certain European cities, comparing them
Music," continued the piano manufacturer, "it's
Mr.
Eberhard—No,
sir;
they
cannot
compare
with New York.
surprising that Campanini should be jealous of
New York at all.
Prevost, Campanini is Campanini the world over,
Reporter—How so? What do you mean by with
Reporter—Why
not?
while Prevost is a greenhorn, and yet the great
that?
Mr.
Eberhard—I
said
before
we
have
in
New
tenor will sometimes be so jealous of Prevost that
Mr. Eberhard—For instance, my own branch,
about 6,000 musicians. This fact alone pro- he gets red in the face. I think he has more rea-
musical instruction. Music schools of all descrip- York
to some extent, a musical atmosphere, and son to be jealous of Ravelli, who is an artist."
tions flourish in European cities to a great extent duces,
the possibility of musical performances of a
—both private enterprises and such concerns as are gives
What can students hear in a
supported by the State, which latter concerns are varied character.
town? You know, yourself, nothing of
generally roosting places for the friends and pro- country
account. In New York, we have the symphony
AN INCOHERENT WORE.
teges of the ruling power. It is something like any
of Dr. Damrosch and Theo. Thomas, the
"civil service reform" from the Democratic concerts
N
READING
the published parts of "A Dic-
great concerts of the Oratorio Society, New York
standpoint, that is, let us keep all the good things Chorus, Vocal Union; Italian, German, French, and
tionary of Music and Musicians," edited by
and fat places for the faithful of the party.
English Opera by numerous companies of varied George Grove, D.C.L., we have often been tempted
INCOMPETENT TEACHERS ABROAD.
merit, and hundreds of other performances of a to call attention to defects, misstatements and a
general incoherency which characterizes the work.
Reporter—Well, you don't mean to say that all high order of all kinds.
We have determined, however, to remain quiet
the important positions in European music
SOMETHING ABOUT MUSIC LESSONS.
until we receive the last number of this "Diction-
schools are filled by incompetents?
Reporter—Well, what have all these to do with ary," and then, on looking through the complete
Mr. Eberhard—Not all, of course not; but a music
work, we intend to pay our respects to the author.
lessons?
great many. Look at the history of music, and
consider the cases of Palistina, Mozart, and Mr. Eberhard—If you speak of music lessons, Mr. Geo. H. Ellis, of Boston, who publishes re-
Berlioz. These are only three names, but they then they have, perhaps, not so much to do with views of Beethoven's Symphonies, sends us several
represent to us, so to speak, the beginning, the it. That branch belongs, anyhow, more to private of them, among which we find Beethoven's fifth
development, and the climax of the musical art teachers, as their sole means of support, and who symphony (C minor, op. 67,) reviewed by Mr.
up to our very present day. I could add a great may live in Yokohama or Porkopolis. But, sir, George Grove, if the pampklet in hand can prop-
many more, but, only for example, look at Mozart; I if you speak of the study of music and art, erly be called a review. We find a short introduc-
he died a pauper. Positions of influence were then you mean a combination of teachers, a con- tion by Mr. Grove, which fails to carry any par-
refused him because his compositions were not servatory of music properly organized and con- ticular idea of Beethoven's great work; in fact, it
considered to amount to much; and others, whose ducted. In the Grand Conservatory of Music requires more than one and a half or two columns
names have been long forgotten, held these posi- we have a combination of the very best talent for of matter to review a symphony like the C minor,
tions because they were courtiers, or the faithful teaching that can be found. Our students, after yet the whole pamphlet would occupy only that
servants of the party, as John Kelly would say. studying an opera, or oratorio, or a symphony, or space in THE MUSICAL CRTTIC AND TRADE REVIEW.
The glittering pomp of royalty has always a concerto with their teachers, can go to the Acad- We find various examples from the movements
great many admirers, and generally real genius is emy of Music or Stein way Hall and hear the whole of the symphony, with a few remarks of no partic-
ignored, because royalty can't use persons with work performed in its entirety, with full orchestra ular value and of no consequence to an inquiring
brains or progressive ideas; but they want "obe- —profiting and learning, of course, by listening to student, and the pamphlet closes with a long quo-
dient subjects," who will carry out faithfully the a good performance of the same, and acquire a tation from F. M. Berlioz on the filth symphony—
instructions coming from above, and consider it the mastery of the same which cannot be obtained this being really the meritorious portion of the
height of their ambition to try to please the royal without it. The teaching by example is what pamphlet.
the city of New York affords, and what other cities We fail to understand the purpose of the publi-
lord and master.
in this country cannot offer; for a student when cation. In order to find the examples, all that is
studying under my care can profit in one season necessary is to look through the score, where they
ABOUT PRIVATE ENTERPRISES.
Reporter—You spoke of "private enterprises." more than elsewhere in five years.
can be found in complete form. The remarks
I suppose you mean institutions carried on by Reporter—Do you ever have any lectures de- added by Mr. Grove do not constitute a critical
individuals?
review or analysis of this symphony and offer no
livered on musical subjects?
disclosures. Beethoven's fifth symphony cannot
Mr. Eberhard—Yes, sir; these are the institu- Mr. Eberhard—Certainly.
be analyzed in a pamphlet requiring about five
tions which have to rely on their real merits only,
Reporter—Are they well patronized?
and succeed by the same or go to the wall. That Mr. Eberhard—Not as well as they ought to be. minutes of reading.
TALK WITH A DIRECTOR.
A
A
X
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