Music Trade Review
Issue: 1882 Vol. 5 N. 20 - Page 4
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316
THE MUSICAL CRITIC AND TRADE REVIEW.
May 20th, 1882.
torio, and Philadelphia Cecilian Choruses, aggre-
it, as his classmates had much superior instru-
gating 2,800 voices, which were trained in an ex-
ments. I spoke to his father several times about-
mplary manner.
the matter, and urged the importance of a decent
violin. But in vain. Notwithstanding the gentl#- FOURTH CONCERT-THURSDAY AFTERNOON.
This chorus and the large orchestra presented
man was wealthy, he pleaded that it was 'too ex-
Handel's work in a most favorable manner, the
pensive,' 'hard times,' 'can't afford it,' and other
most prominent features being the thoroughness of
WAGNEE DAY.
ridiculous excuses. As a consequence ©f this sin-
the work and the precision of the attack.
gular 'economy,' the boy naturally lost all interest
The lack of real enthusiasm which marked this
T^HE performance of Thursday afternoon on performance, compared with the excitement and at
in his studies, and finally he quit taking lessons.
JL May 4 was devoted entirely to fragments of
"This wealthy father, finding that his boy was Wagner's "Ring of the Nibelungen." Twelve of the same time the attention during the Wagner
distressed on account of giving up the music les- the dramatis persona? appeared on this occasion, performance on the day previous, gives cause for
serious reflection. Handel's nigged music, with
sons, consoled him by presenting him with a steam
Schell, Henne, and Wurmb representing its strict contrapuntal developments, demands
yacht, which cost $3,000. And yet this father Misses
the
three
Rhine-Daughters.
other conditions than can be found in an indis-
claimed that he could not afford to pay the one
Mr Stein sang Alberich, Mr. Toedt, Lnge, and riminate audience.
hundredth part of this sum for his talented son's Wolan
was sung by Mr. Remmertz. These two art-
Indeed, by 10 o'clock, and nearly one hour be-
musical education."
ists also sang the small parts of Froh and Donner. fore the close of the concert, a continuous stream
"Such cases are rare, are they not?"
In the "Walkiire," Signor Galassi sang Wotan,
"Not so rare as you think. I t is a well-known and Mr. Candidus, Siegmund. Mr. Toedt sang of people, which must have aggregated several
thousand, left the building before the last num-
fact that parents with growing daughters never Mime. Brunhilde was sung by Materna.
bers began.
consider the amount of money paid for drygoods,
Mr. Thomas did not deem it necessary to stop
diamonds, etc., and yet these very people, who The fragments selected were the following:
this exodus.
throw away money—actually throw it away—for I. T H E RHINE-GOLD.
As we stated in th« previous number of THE MU-
dress, growl like wolves about a paltry music
a) Prelude.
SICAL CKITIC AND TRADE REVIEW, the kind of mu-
bill for the education of their children. And how
b) The Theft of the Gold.
sic which attracts general attention must bo spon-
many young ladies have, through a good, sound
c) Wotan's Apostrophe to Walhalla.
taneous, and must contain either remarkable lyric
musical education, been enabled to support pa-
d) Loge's Tidings.
features or have dramatic moments that will stir
rents who become poor in their old days. In such
e) Finale.
the emotions independently of the text.
oases the few dollars spent for an education have
But such is not the case with Handel's music,
borne good fruit, while the thousands spent for II. THE VAT/KYKIE.
much of which is said to have been composed
show, dress, or vanity, seldom bear interest, but,
(a) Introduction (storm).
long before his day even.
on the contrary, are only to© often the cause of
(/;) Siegmund's Love Song.
Dr. Crotch, who was born in 1775, and who was
misery and remorse in later years."
(e) Ride of the Valkyries.
an excellent musician and a critic of great attain-
(d) Wotan's Farewell. The Fire Scene.
"That is very true; but what can you do? You
ments, boldly stated that Handel composed very
can't make people different from what they are?" III. SIEGFRIED.
little of the music attributed to him. There is a
"Of course not; but the press can do a great
Finale of Act I. The Forging of the remarkable inconsistency, we must admit, in
deal in this respect And I tell you, sir, in all se-
Sword.
originality and the physical ability of composing
riousness, that the press in this country has a
large oratorios in two or four weeks' time.
great and noble task—that of education and en- IV. GoTTEKDAMMERUNG.
"Israel in Egypt" has often been questioned as
lightenment. Members of the press have their
(a) Funeral March.
an original work. Movements and parts are at-
hard struggles as well as other professional men.
(b) Finale. Brunhilde's Immolation.
tributed to Kerl; some of them are said to have
Let them always be true to what is good and
Although not adapted for the concert room, and been taken from Krieger; and the most important
nobl«, and their readers will become better men
and women without exactly knowing what made therefore liable to distorted representation, the parts are said to have been taken from an old
them so. Only in this way is it possible to edu- selections of Wagner's "Tetralogy" were performed manuscript by Erba.
Whether these accusations are true or not, there
cate the public, for after most people have left with such splendid effect, the quantity,and espe-
school they seldom think of improving their cially the quality, of the tone being of an unprece- is no doubt that this oratorio does not represent
minds—their different occupations and business dented high order, that the most sanguine expec- one musical idea. I t produces an overwhelming
pursuits preventing them—but they have always tations could hardly have fallen short of realization. tone-effect, and the fugues are excellent examples
We doubt if ever before a more remarkable of work in that direction; they show the master
time to read their favorite newspaper. It gives
them all the information they get. If the press performance of this selection has taken place in that particular field of composition.
But the oratorio is devoid of intense musical
would recognize this fact, what innumerable ben- since the work left the hands of the composer.
efits would be derived therefrom by the public in
Three hundred of the finest orchestral perform- feeling, and finds no response ia the minds of any
general, not to speak of the immense help it ers seemed to have dedicated their best energies to other than musical connoisseurs.
Miss Osgood appeared for the first time, and
would be to sincere musicians in their work. a successful production of the Wagner selections.
Now don't make the mistake of thinking that I Theodore Thomas, whose inclinations are specially although showing uvidences of recent illness, did
Miss Winants did not
want you to believe that musicians are all 'saints.' in the direction of the music of the future, was her work satisfactorily.
Of course, they are not; but they are human thoroughly in his element, and the result was an improve on her previous performances during the
Festival. Miss Hattie Schell's voice was too
beings, and have their good and bad traits, just achievement which was unprecedented.
the same as other men. The music profession
The effect upon the audience was at times small to produce any effect in the duet "The Lord
Is my Strength." Mr. Candidus and Mr. Whitney
must confess that there is a number of 'black electric.
sheep' and 'frauds' among them. But what trade
During the performance of the "Ride of the sang effectively, but neither could be heard any
or calling is free from such vipers? Look at Walkiires" the immense audience seemed to be great distance from the stage.
the sensational writers who call themselves jour- spell-bound. The "Magic Fire Scene" produced
nalists! Some of these fellows delight in cir- a great effect, and "The Forging of the Sword"
culating the nastiest rumors, no matter who suf- and the "Funeral March" in "Gotterclammerung"
SIXTH CONCERT—SATURDAY AFTERNOON.
fers, just to gratify their innate meanness and sell were received with unbounded enthusiasm.
ITALIAN # COMPOSERS.
a few extra papers. Others again prance around
The result of this performance is the establish-
PROGRAMME, ranging from Corelli, who
as blackmailers or dime-brigands. Their motto is: ment in this city, and consequently in this country,
was born in 1653, to Verdi, who was born
" L a bourse ou la vie/" ("Your money, or I'll go for of a distinct and positive Wagner clientele. There
you!") This latter class, as you know, are very is no doubt that the occasional productions of in 1814, and consisting entirely of compositions
oily fish, and as inoffensive as Chinamen if you fragments from Wagner's latest productions have of Italians, was performed on this afternoon.
advertise in their worthless papers; but refuse to created a great interest in the works of this re-
It is interesting to note the programme in de-
patronize them, then you may expect all the abuse markable man; b u t the performance at the Festi- tail:
that can be imagined. Many of these bogus jour-
under such auspices and with the assistance of Sonata in D
A. Corelli
nalists claim that they were music teachers. val,
Materna in the last scene, where her powerful
String Orchestra.
(1653-1713)
You can see the whole 'gang' any fine day hanging voice
was
heard
to
the
greatest
advantage,
and
Aria di Ohiesa. "Se i miei sospiri"
Strabella
around the hotels and beer saloons on Fourteenth
Miss Emily Winant. (1645-1678)
street, waiting for some bad actor or cheap mu- where the wonderful accomplishments of the com-
Bocoherini
sician to invite them to driuk. And when they poser, both in instrumental and vocal creations, Menuetto
are invited, it is a certainty that they will anchor appeared in such a favorable light, exceeded any-
String Orchestra.
(1740-1805)
themselves to a beer table and freeze to their vic- thing ever heard before. These performances dur- Aria, " Pria che spunti" (II. Martimonio
tim until he declines to buy more beer. Th«n the ing the Wagner day produced a marked im-
Segreto)
Cimarosa
stories they regale each other with! Ugh! They pression on the audience.
Signor Italo Campanini. (1754-1801)
It
will
be
a
difficult
matter
hereafter
to
antagon-
disgust even the stoical German waiters. But the
Les Deux Journees
Cherubini
worst feature about these fellows is this: Many of ize his theories successfully, and for the present
(a) Overture
Orchestra. (1760-1842)
his
works
will
be
welcome
attractions
for
the
mu-
them have respectable relatives and connections,
(6) Sestetto Finale, "O, Ciel!" (Act I.)
and they frequently use these decent people to in- sical people of this country.
Mrs.
E. Aline Osgood, Miss Annie Louise
With the exception of Materna, the other vocal-
jure any one who may happen to incur their ill
Cary.
will. I have often received visits from persons of ists did not appear to have organs of sufficient
Mr. William Candidus, Mr. Theodore J .
this class, who painted in glowing colors their in- power to produce any impression. Mr. Candidus
Toedt.
fluence with certain papers, and on the strength lias an excellent voice, but his rendition of the
Mr. Georg Henschel, Mr. Franz Remmertz.
©f such representations expected me to engage "Love Song" was cold and passionless.
La Vestale
Spontini
them as professors or teachers. If time would
(a)
Overture
Orchestra.
(17841851)
admit, I could entertain you for a day telling you
FIFTH CONCERT-FRIDAY NIGHT.
(b) Scene: "Del tuogranMinistero. "(Actll.)
my experience with 'musical cranks' and 'journal-
Madame Etelka Gerster.
HANDEL NIGHT.
istic beats;' but as an hour has slipped by rapidly
and duties are pressing, I will have to leave you. 6 6 FSRAEL IN EGYPT," with its large choruses Miss Annie Louise Gary, Signor Italo Campaniui.
Guglielmo Tell
"
Rossino
Come again, whenever you can. I am always glad
JL and "double choruses," its sombre recita-
(a) Overture
.Orchestra. (17921868)
of a chance to have a little chat with a genuine tions, and its antiquated airs, was produced on
(b) Terzetto. (Act II.)
and decent member of the press, but heaven save Friday night, May 5, before another large audi-
Mr. William Candidns, Mr. Franz Remmertz,
me from the 'professional journalistic dead-beat. ence.
Mr. Myron W. Whitney.
Good bve!"
The chorus consisted ot the New York, Brook- Duo—"Ah, Leonora il guardo" (La Fa-
lyn, Boston Handel and H^ydn, Baltimore Ora-
vorita)
Donizetti
THE MUSIC FESTIVAL
A
316
THE MUSICAL CRITIC AND TRADE REVIEW.
May 20th, 1882.
torio, and Philadelphia Cecilian Choruses, aggre-
it, as his classmates had much superior instru-
gating 2,800 voices, which were trained in an ex-
ments. I spoke to his father several times about-
mplary manner.
the matter, and urged the importance of a decent
violin. But in vain. Notwithstanding the gentl#- FOURTH CONCERT-THURSDAY AFTERNOON.
This chorus and the large orchestra presented
man was wealthy, he pleaded that it was 'too ex-
Handel's work in a most favorable manner, the
pensive,' 'hard times,' 'can't afford it,' and other
most prominent features being the thoroughness of
WAGNEE DAY.
ridiculous excuses. As a consequence ©f this sin-
the work and the precision of the attack.
gular 'economy,' the boy naturally lost all interest
The lack of real enthusiasm which marked this
T^HE performance of Thursday afternoon on performance, compared with the excitement and at
in his studies, and finally he quit taking lessons.
JL May 4 was devoted entirely to fragments of
"This wealthy father, finding that his boy was Wagner's "Ring of the Nibelungen." Twelve of the same time the attention during the Wagner
distressed on account of giving up the music les- the dramatis persona? appeared on this occasion, performance on the day previous, gives cause for
serious reflection. Handel's nigged music, with
sons, consoled him by presenting him with a steam
Schell, Henne, and Wurmb representing its strict contrapuntal developments, demands
yacht, which cost $3,000. And yet this father Misses
the
three
Rhine-Daughters.
other conditions than can be found in an indis-
claimed that he could not afford to pay the one
Mr Stein sang Alberich, Mr. Toedt, Lnge, and riminate audience.
hundredth part of this sum for his talented son's Wolan
was sung by Mr. Remmertz. These two art-
Indeed, by 10 o'clock, and nearly one hour be-
musical education."
ists also sang the small parts of Froh and Donner. fore the close of the concert, a continuous stream
"Such cases are rare, are they not?"
In the "Walkiire," Signor Galassi sang Wotan,
"Not so rare as you think. I t is a well-known and Mr. Candidus, Siegmund. Mr. Toedt sang of people, which must have aggregated several
thousand, left the building before the last num-
fact that parents with growing daughters never Mime. Brunhilde was sung by Materna.
bers began.
consider the amount of money paid for drygoods,
Mr. Thomas did not deem it necessary to stop
diamonds, etc., and yet these very people, who The fragments selected were the following:
this exodus.
throw away money—actually throw it away—for I. T H E RHINE-GOLD.
As we stated in th« previous number of THE MU-
dress, growl like wolves about a paltry music
a) Prelude.
SICAL CKITIC AND TRADE REVIEW, the kind of mu-
bill for the education of their children. And how
b) The Theft of the Gold.
sic which attracts general attention must bo spon-
many young ladies have, through a good, sound
c) Wotan's Apostrophe to Walhalla.
taneous, and must contain either remarkable lyric
musical education, been enabled to support pa-
d) Loge's Tidings.
features or have dramatic moments that will stir
rents who become poor in their old days. In such
e) Finale.
the emotions independently of the text.
oases the few dollars spent for an education have
But such is not the case with Handel's music,
borne good fruit, while the thousands spent for II. THE VAT/KYKIE.
much of which is said to have been composed
show, dress, or vanity, seldom bear interest, but,
(a) Introduction (storm).
long before his day even.
on the contrary, are only to© often the cause of
(/;) Siegmund's Love Song.
Dr. Crotch, who was born in 1775, and who was
misery and remorse in later years."
(e) Ride of the Valkyries.
an excellent musician and a critic of great attain-
(d) Wotan's Farewell. The Fire Scene.
"That is very true; but what can you do? You
ments, boldly stated that Handel composed very
can't make people different from what they are?" III. SIEGFRIED.
little of the music attributed to him. There is a
"Of course not; but the press can do a great
Finale of Act I. The Forging of the remarkable inconsistency, we must admit, in
deal in this respect And I tell you, sir, in all se-
Sword.
originality and the physical ability of composing
riousness, that the press in this country has a
large oratorios in two or four weeks' time.
great and noble task—that of education and en- IV. GoTTEKDAMMERUNG.
"Israel in Egypt" has often been questioned as
lightenment. Members of the press have their
(a) Funeral March.
an original work. Movements and parts are at-
hard struggles as well as other professional men.
(b) Finale. Brunhilde's Immolation.
tributed to Kerl; some of them are said to have
Let them always be true to what is good and
Although not adapted for the concert room, and been taken from Krieger; and the most important
nobl«, and their readers will become better men
and women without exactly knowing what made therefore liable to distorted representation, the parts are said to have been taken from an old
them so. Only in this way is it possible to edu- selections of Wagner's "Tetralogy" were performed manuscript by Erba.
Whether these accusations are true or not, there
cate the public, for after most people have left with such splendid effect, the quantity,and espe-
school they seldom think of improving their cially the quality, of the tone being of an unprece- is no doubt that this oratorio does not represent
minds—their different occupations and business dented high order, that the most sanguine expec- one musical idea. I t produces an overwhelming
pursuits preventing them—but they have always tations could hardly have fallen short of realization. tone-effect, and the fugues are excellent examples
We doubt if ever before a more remarkable of work in that direction; they show the master
time to read their favorite newspaper. It gives
them all the information they get. If the press performance of this selection has taken place in that particular field of composition.
But the oratorio is devoid of intense musical
would recognize this fact, what innumerable ben- since the work left the hands of the composer.
efits would be derived therefrom by the public in
Three hundred of the finest orchestral perform- feeling, and finds no response ia the minds of any
general, not to speak of the immense help it ers seemed to have dedicated their best energies to other than musical connoisseurs.
Miss Osgood appeared for the first time, and
would be to sincere musicians in their work. a successful production of the Wagner selections.
Now don't make the mistake of thinking that I Theodore Thomas, whose inclinations are specially although showing uvidences of recent illness, did
Miss Winants did not
want you to believe that musicians are all 'saints.' in the direction of the music of the future, was her work satisfactorily.
Of course, they are not; but they are human thoroughly in his element, and the result was an improve on her previous performances during the
Festival. Miss Hattie Schell's voice was too
beings, and have their good and bad traits, just achievement which was unprecedented.
the same as other men. The music profession
The effect upon the audience was at times small to produce any effect in the duet "The Lord
Is my Strength." Mr. Candidus and Mr. Whitney
must confess that there is a number of 'black electric.
sheep' and 'frauds' among them. But what trade
During the performance of the "Ride of the sang effectively, but neither could be heard any
or calling is free from such vipers? Look at Walkiires" the immense audience seemed to be great distance from the stage.
the sensational writers who call themselves jour- spell-bound. The "Magic Fire Scene" produced
nalists! Some of these fellows delight in cir- a great effect, and "The Forging of the Sword"
culating the nastiest rumors, no matter who suf- and the "Funeral March" in "Gotterclammerung"
SIXTH CONCERT—SATURDAY AFTERNOON.
fers, just to gratify their innate meanness and sell were received with unbounded enthusiasm.
ITALIAN # COMPOSERS.
a few extra papers. Others again prance around
The result of this performance is the establish-
PROGRAMME, ranging from Corelli, who
as blackmailers or dime-brigands. Their motto is: ment in this city, and consequently in this country,
was born in 1653, to Verdi, who was born
" L a bourse ou la vie/" ("Your money, or I'll go for of a distinct and positive Wagner clientele. There
you!") This latter class, as you know, are very is no doubt that the occasional productions of in 1814, and consisting entirely of compositions
oily fish, and as inoffensive as Chinamen if you fragments from Wagner's latest productions have of Italians, was performed on this afternoon.
advertise in their worthless papers; but refuse to created a great interest in the works of this re-
It is interesting to note the programme in de-
patronize them, then you may expect all the abuse markable man; b u t the performance at the Festi- tail:
that can be imagined. Many of these bogus jour-
under such auspices and with the assistance of Sonata in D
A. Corelli
nalists claim that they were music teachers. val,
Materna in the last scene, where her powerful
String Orchestra.
(1653-1713)
You can see the whole 'gang' any fine day hanging voice
was
heard
to
the
greatest
advantage,
and
Aria di Ohiesa. "Se i miei sospiri"
Strabella
around the hotels and beer saloons on Fourteenth
Miss Emily Winant. (1645-1678)
street, waiting for some bad actor or cheap mu- where the wonderful accomplishments of the com-
Bocoherini
sician to invite them to driuk. And when they poser, both in instrumental and vocal creations, Menuetto
are invited, it is a certainty that they will anchor appeared in such a favorable light, exceeded any-
String Orchestra.
(1740-1805)
themselves to a beer table and freeze to their vic- thing ever heard before. These performances dur- Aria, " Pria che spunti" (II. Martimonio
tim until he declines to buy more beer. Th«n the ing the Wagner day produced a marked im-
Segreto)
Cimarosa
stories they regale each other with! Ugh! They pression on the audience.
Signor Italo Campanini. (1754-1801)
It
will
be
a
difficult
matter
hereafter
to
antagon-
disgust even the stoical German waiters. But the
Les Deux Journees
Cherubini
worst feature about these fellows is this: Many of ize his theories successfully, and for the present
(a) Overture
Orchestra. (1760-1842)
his
works
will
be
welcome
attractions
for
the
mu-
them have respectable relatives and connections,
(6) Sestetto Finale, "O, Ciel!" (Act I.)
and they frequently use these decent people to in- sical people of this country.
Mrs.
E. Aline Osgood, Miss Annie Louise
With the exception of Materna, the other vocal-
jure any one who may happen to incur their ill
Cary.
will. I have often received visits from persons of ists did not appear to have organs of sufficient
Mr. William Candidus, Mr. Theodore J .
this class, who painted in glowing colors their in- power to produce any impression. Mr. Candidus
Toedt.
fluence with certain papers, and on the strength lias an excellent voice, but his rendition of the
Mr. Georg Henschel, Mr. Franz Remmertz.
©f such representations expected me to engage "Love Song" was cold and passionless.
La Vestale
Spontini
them as professors or teachers. If time would
(a)
Overture
Orchestra.
(17841851)
admit, I could entertain you for a day telling you
FIFTH CONCERT-FRIDAY NIGHT.
(b) Scene: "Del tuogranMinistero. "(Actll.)
my experience with 'musical cranks' and 'journal-
Madame Etelka Gerster.
HANDEL NIGHT.
istic beats;' but as an hour has slipped by rapidly
and duties are pressing, I will have to leave you. 6 6 FSRAEL IN EGYPT," with its large choruses Miss Annie Louise Gary, Signor Italo Campaniui.
Guglielmo Tell
"
Rossino
Come again, whenever you can. I am always glad
JL and "double choruses," its sombre recita-
(a) Overture
.Orchestra. (17921868)
of a chance to have a little chat with a genuine tions, and its antiquated airs, was produced on
(b) Terzetto. (Act II.)
and decent member of the press, but heaven save Friday night, May 5, before another large audi-
Mr. William Candidns, Mr. Franz Remmertz,
me from the 'professional journalistic dead-beat. ence.
Mr. Myron W. Whitney.
Good bve!"
The chorus consisted ot the New York, Brook- Duo—"Ah, Leonora il guardo" (La Fa-
lyn, Boston Handel and H^ydn, Baltimore Ora-
vorita)
Donizetti
THE MUSIC FESTIVAL
A
Future scanning projects are planned by the International Arcade Museum Library (IAML).