Music Trade Review
Issue: 1882 Vol. 5 N. 20 - Page 3
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VOL. V.
N E W YORK, M A Y
MRS. E. ALINE OSGOOD.
RS. E. ALINE OSGOOD, the well-known
soprano, whose picture appears on this page,
is a native of Boston, and for three years was a stud-
ent in the New England Conservatory of Music, her
first teacher being Mr. J. L. Weatherbee. She
then studied oratorio under Mrs. Jennie Twichell
Kempton. When only a girl she won distinction
as a singer of ballads and music of the lighter
class. To this she added greatly in Boston and its
vicinity by singing for two years as the soloist of
the Beethoven Quintette Club, of Boston. She was
also the soprano of the old South Church for sev-
eral years. At the solicitation of friends, Mrs. Os-
good went to Europe to complete her musical edu-
cation. For three years she studied oratorio under
Randegger. Her debut in her chosen line of
musical works was made in October, 1875, in the
Crystal Palace Festival. In the same year she
aang with success through the
English provinces in company
with Halle, and later in a con-
cert company with Sims Reeves,
Patey, and Foli, appearing also
in the Crystal Palace Saturday
ooncerts.
Her first great triumph was
made in the Crystal Palace Fes-
tival of 1876, when she sang the
soprano solos in Liszt's orator-
io, "Die Heilige Elisabeth."
In 1878 she visited America to
participate in the Cincinnati
Musical Festival, and also sang
in a number of Thomas's con-
certs.
On her return to England she
took part, on April 25, 1879, in
the Shakespeare Memorial Fes-
tival at Stratford-on-Avon, of
which Sir Julius Benedict was
conductor. In 1880 she was a
prominent artist in the London
Handel Triennial Festival. In
the same year she visited this
country, appearing in a number
of festivals, and also in concert.
Following the Festival here
she sings in the Chicago, Cin-
cinnati, and Cleveland music
festivals.
Mrs. Osgood will remain in
America another season, and her
business will be under the sole
management of Geo. W. Colby,
as heretofore. Her engagements
this spring are for the Cincin-
nati, Chicago, and Pittsburg
Musical Festivals, and after-
wards for a series of concerts
in the Northwest.
She is already engaged for
the Worcester (Mass.) Festival,
the last week in September.
M
MUSICAL CULTURE IN AM-
ERICA.
r p H E MUSICAL CRITIC AND TRADE REVIEW has
JL for some time past made a point of placing
before its readers different views on musical edu-
cation in this country, and has therefore inquired
into the workings of the several music schools in
this city and elsewhere, not forgetting, however,
to give due credit to private teachers, who have
done their share in developing the musical taste of
the people, and contributing thereby in no small
degree to the remarkable success the art of music
has attained during the last few years.
A reporter of THE MUSICAL CRITIC AND TRADE RE-
VIEW called recently, in pursuit of information on
this topic, at the Grand Conservatory of Music, at
their new and spacious building, No. 46 West
Twenty-third street, to hear what Mr. E. Eber-
hard, the director of this music school, had to say
on the subject, believing that that gentleman's
20TH
TO J U N E
5TH,
1882.
opinion would be of considerable interest to the
public, as he has been identified with musical
matters in this city for nearly a quarter of a century.
The reporter met with a cordial reception, and
was shown through the entire building, including
the large pipe organ which has just been put up
in the hall of the conservatory.
"I believe, Mr. Eberhard," said the reporter,
"you are aware that the conservatory system in
this country has a number of strong antagonists?
What is the cause of it ?"
"Yes, you are right," replied Mr. Eberhard;
"there are persons who would oppose anything,
no matter how good it is. Some people oppose
things because it is their interest to do so; and
then again there are persons who are prejudiced
because they do not know better and are too indo-
lent to inform themselves. I must say, however,
that the prejudice of our better classes is rapidly
MRS. E. ALINE OSGOOD.
disappearing, as we can count among our patrons
many of the very best families in this city."
"Why should there exist any prejudice at all?
What is the cause of it?"
"As I just stated, the best families patronize us.
Why ? Because, after giving us a fair trial, they
found it to their interest; and, my dear sir, they
are loud in their commendations of the Grand
Conservatory of Music. I have quite a number of
letters from leading clergymen, physicians, and
other persons of high standing in the community,
which are quite enthusiastic in praise of our
method, and prove that the Grand Conservatory
is being appreciated and its merits recognized.
Now, my dear sir, if you will give me your atten-
tion for a few minutes, I will explain several
things to you, and tell you some facts which will
throw a little light on the subject in question.
No. 20
"There is no doubt that in this, as well as
in other cities, certain concerns exist, which,
being conducted by speculators, have placed
our music schools in a wrong position be-
fore the public. The public, however, have
learned to discriminate, and persons who really
desire a sound musical education know very well
where to find it. It cannot be denied that ©ur
Musical Circulating Library and entertainments
by professors and pupils, as well as our lectures,
have considerably contributed to lead those seek-
ing instruction in the right direction. I am posi-
tive that bogus music schools have had their day,
and will soon be things of the past.
"The progress of musical art has been remark-
able in this country, and it is very perceptible in
the attendance of our classes in composition and
harmony. Eight years ago we had one class in
harmony. Though no charge was made for attend-
ing the same, it was hardly pat-
ronized. To-day we have seven
different classes in harmony,
and several in counterpoint and
the higher forms of composi-
tion, all of which are well at-
tended, and some are even
crowded. This proves suffi-
ciently that the world has been
moving, and that persons
studying music do so with the
proper enthusiasm, which is
certain to demonstrate in the
near future that the musical
profession can be appreciated
and respected as well as any
other profession."
"Why, have you ever found
that the musical profession was
not appreciated?"
"Have I ! My dear sir, when
I look back through the many
years that I have taught music,
conducted clubs, singing soci-
ties, and orchestras, I think I
may truthfully say that I have
met with many different classes
of people whose peculiar ideas
about music and music teachers
would make anybody smile."
"I would be pleased if you
would favor me with some in-
cident."
"Cheerfully. Several years
ago, a clergyman called on me
and stated that his son wanted
to become a musician, and that
he (the minister) strongly ob-
jected to the idea at first, be-
cause he considered the musical
profession something like a
'bumming pursuit;' but that his
wife had persuaded him to give
the boy a trial. And having as-
certained that in Europe quite
respectable people belonged to
the musical fraternity, he had
concluded to let his son take a
few lessons, and then send him
to Europe, where he, ef course,
would make his mark, because he was very smart.
Poor fellow! how little idea did he have of the
hard study and solid hard work his offspring
would have to go through before he would even
be noticed."
"But nowadays there are no people with such
ideas?"
"There are not quite so many, I presume; but
that there are some left yet the following may
prove: Two years ago I had a boy here about four-
teen years of age who studied the violin. His
father was a very wealthy broker, whose ideas
about music were decidedly peculiar. The boy
was talented and learnt his lessons thoroughly
and with ease. There was one great drawback,
however, and that was the instrument the lad had
to play upon. It was simply an apology for a vio-
lin, and the boy was keenly sensitive in regard to
VOL. V.
N E W YORK, M A Y
MRS. E. ALINE OSGOOD.
RS. E. ALINE OSGOOD, the well-known
soprano, whose picture appears on this page,
is a native of Boston, and for three years was a stud-
ent in the New England Conservatory of Music, her
first teacher being Mr. J. L. Weatherbee. She
then studied oratorio under Mrs. Jennie Twichell
Kempton. When only a girl she won distinction
as a singer of ballads and music of the lighter
class. To this she added greatly in Boston and its
vicinity by singing for two years as the soloist of
the Beethoven Quintette Club, of Boston. She was
also the soprano of the old South Church for sev-
eral years. At the solicitation of friends, Mrs. Os-
good went to Europe to complete her musical edu-
cation. For three years she studied oratorio under
Randegger. Her debut in her chosen line of
musical works was made in October, 1875, in the
Crystal Palace Festival. In the same year she
aang with success through the
English provinces in company
with Halle, and later in a con-
cert company with Sims Reeves,
Patey, and Foli, appearing also
in the Crystal Palace Saturday
ooncerts.
Her first great triumph was
made in the Crystal Palace Fes-
tival of 1876, when she sang the
soprano solos in Liszt's orator-
io, "Die Heilige Elisabeth."
In 1878 she visited America to
participate in the Cincinnati
Musical Festival, and also sang
in a number of Thomas's con-
certs.
On her return to England she
took part, on April 25, 1879, in
the Shakespeare Memorial Fes-
tival at Stratford-on-Avon, of
which Sir Julius Benedict was
conductor. In 1880 she was a
prominent artist in the London
Handel Triennial Festival. In
the same year she visited this
country, appearing in a number
of festivals, and also in concert.
Following the Festival here
she sings in the Chicago, Cin-
cinnati, and Cleveland music
festivals.
Mrs. Osgood will remain in
America another season, and her
business will be under the sole
management of Geo. W. Colby,
as heretofore. Her engagements
this spring are for the Cincin-
nati, Chicago, and Pittsburg
Musical Festivals, and after-
wards for a series of concerts
in the Northwest.
She is already engaged for
the Worcester (Mass.) Festival,
the last week in September.
M
MUSICAL CULTURE IN AM-
ERICA.
r p H E MUSICAL CRITIC AND TRADE REVIEW has
JL for some time past made a point of placing
before its readers different views on musical edu-
cation in this country, and has therefore inquired
into the workings of the several music schools in
this city and elsewhere, not forgetting, however,
to give due credit to private teachers, who have
done their share in developing the musical taste of
the people, and contributing thereby in no small
degree to the remarkable success the art of music
has attained during the last few years.
A reporter of THE MUSICAL CRITIC AND TRADE RE-
VIEW called recently, in pursuit of information on
this topic, at the Grand Conservatory of Music, at
their new and spacious building, No. 46 West
Twenty-third street, to hear what Mr. E. Eber-
hard, the director of this music school, had to say
on the subject, believing that that gentleman's
20TH
TO J U N E
5TH,
1882.
opinion would be of considerable interest to the
public, as he has been identified with musical
matters in this city for nearly a quarter of a century.
The reporter met with a cordial reception, and
was shown through the entire building, including
the large pipe organ which has just been put up
in the hall of the conservatory.
"I believe, Mr. Eberhard," said the reporter,
"you are aware that the conservatory system in
this country has a number of strong antagonists?
What is the cause of it ?"
"Yes, you are right," replied Mr. Eberhard;
"there are persons who would oppose anything,
no matter how good it is. Some people oppose
things because it is their interest to do so; and
then again there are persons who are prejudiced
because they do not know better and are too indo-
lent to inform themselves. I must say, however,
that the prejudice of our better classes is rapidly
MRS. E. ALINE OSGOOD.
disappearing, as we can count among our patrons
many of the very best families in this city."
"Why should there exist any prejudice at all?
What is the cause of it?"
"As I just stated, the best families patronize us.
Why ? Because, after giving us a fair trial, they
found it to their interest; and, my dear sir, they
are loud in their commendations of the Grand
Conservatory of Music. I have quite a number of
letters from leading clergymen, physicians, and
other persons of high standing in the community,
which are quite enthusiastic in praise of our
method, and prove that the Grand Conservatory
is being appreciated and its merits recognized.
Now, my dear sir, if you will give me your atten-
tion for a few minutes, I will explain several
things to you, and tell you some facts which will
throw a little light on the subject in question.
No. 20
"There is no doubt that in this, as well as
in other cities, certain concerns exist, which,
being conducted by speculators, have placed
our music schools in a wrong position be-
fore the public. The public, however, have
learned to discriminate, and persons who really
desire a sound musical education know very well
where to find it. It cannot be denied that ©ur
Musical Circulating Library and entertainments
by professors and pupils, as well as our lectures,
have considerably contributed to lead those seek-
ing instruction in the right direction. I am posi-
tive that bogus music schools have had their day,
and will soon be things of the past.
"The progress of musical art has been remark-
able in this country, and it is very perceptible in
the attendance of our classes in composition and
harmony. Eight years ago we had one class in
harmony. Though no charge was made for attend-
ing the same, it was hardly pat-
ronized. To-day we have seven
different classes in harmony,
and several in counterpoint and
the higher forms of composi-
tion, all of which are well at-
tended, and some are even
crowded. This proves suffi-
ciently that the world has been
moving, and that persons
studying music do so with the
proper enthusiasm, which is
certain to demonstrate in the
near future that the musical
profession can be appreciated
and respected as well as any
other profession."
"Why, have you ever found
that the musical profession was
not appreciated?"
"Have I ! My dear sir, when
I look back through the many
years that I have taught music,
conducted clubs, singing soci-
ties, and orchestras, I think I
may truthfully say that I have
met with many different classes
of people whose peculiar ideas
about music and music teachers
would make anybody smile."
"I would be pleased if you
would favor me with some in-
cident."
"Cheerfully. Several years
ago, a clergyman called on me
and stated that his son wanted
to become a musician, and that
he (the minister) strongly ob-
jected to the idea at first, be-
cause he considered the musical
profession something like a
'bumming pursuit;' but that his
wife had persuaded him to give
the boy a trial. And having as-
certained that in Europe quite
respectable people belonged to
the musical fraternity, he had
concluded to let his son take a
few lessons, and then send him
to Europe, where he, ef course,
would make his mark, because he was very smart.
Poor fellow! how little idea did he have of the
hard study and solid hard work his offspring
would have to go through before he would even
be noticed."
"But nowadays there are no people with such
ideas?"
"There are not quite so many, I presume; but
that there are some left yet the following may
prove: Two years ago I had a boy here about four-
teen years of age who studied the violin. His
father was a very wealthy broker, whose ideas
about music were decidedly peculiar. The boy
was talented and learnt his lessons thoroughly
and with ease. There was one great drawback,
however, and that was the instrument the lad had
to play upon. It was simply an apology for a vio-
lin, and the boy was keenly sensitive in regard to
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