Music Trade Review
Issue: 1897 Vol. 24 N. 18 - Page 5
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
cessful seasons in spite of the general
commercial depression, and, what is better
still, has made money. Whether he will
be so lucky in the management of opera on
a much larger and broader scale is a ques-
tion " 'twere better not to dwell on." The
wish is general that good fortune may
follow him in the future as in the past.
With the lesson of the Abbey, vSchoeffel &
Grau failure before him he should certain-
ly know what to avoid in order to suaeed.
o
The outlook for the success of the con-
vention of the Music Teachers' National
Association, to be held at the Grand Cen-
tral Palace, this city, from June 24th to
28th, is very encouraging. The plans out-
lined by the committee in charge are ex-
ceedingly comprehensive and merit the
support of all having at heart the interests
of this very worthy association. It be-
hooves teachers especially, and the musical
public at large, to not only attend the con-
vention, but to take an immediate and
practical interest in its success.
It is not to the credit of the music
teachers of this country that the association
has not been able to accomplish as much as
it might within recent years. There has
been an entire lack of interest, an absence
of enthusiasm. It is never too late to com-
mence, however, and there should be an
earnest effort made by all so that
the forthcoming meeting may mark the
inauguration of a changed and a better
condition of things for the association.
With the teachers' aid, the National Asso-
ciation can exercise a decided influence for
the betterment of musical art in this
country.
o
Sir Arthur Sullivan is at present chiefly
occupied with his new ballet in commemo-
ration of the Queen's reign, and this work
will be produced at the Alhambra shortly.
It is understood to deal more or less with
British sports and pastimes from Druidical
to our own days, but with special reference
to the Maypole dances and other village
gatherings of a couple of centuries ago.
Sullivan has also now accepted the scenario
of the "operatic drama" which Pinero and
Comyns Carr are writing for him. Al-
though doubtless containing plenty of the
comedy element, the opera will, the Athe-
nseum thinks, be rather more serious than is
usual at the Savoy, and it is hoped it will
be ready for production by October next,
o
The body of Johannes Brahms, the com-
poser, has been buried between the tombs
of Beethoven and Schubert. He left no
legal will—only a letter to his publisher,
Simrock, making the Society of Friends of
Music the sole heir of his fortune of $40,000
and the copyrights of his compositions, to-
gether with all his manuscripts and beauti-
ful collections of autographs.
o
The announcement is made that Mr.
Anton Seidl has been engaged by Frau
Cosima Wagner to conduct the perform-
ances of " Parsifal " which are to be given
at Bayreuth as parts of the festival on July
19, 27, 28 and 29, and August 8, 9, 11 and 19.
FRANQCON DAVIES.
This
distinguished artist has been
termed "England's great-
est baritone," and the
title is not misplaced.
When he made his first
appearance in this coun-
try last spring he made a
deep and lasting impres-
sion. His popularity has
been further accentuated
during his present tour.
Both in oratorio as well
as song recitals Mr. Frang-
con Davies is undoubtedly
v the superior of any artist
; heard here in years. He
has a remarkable voice,
r full of power, dramatic
; and sympathetic.
His
enunciation is distinct,
his intonation clear and
manner of singing ex-
t r e m e 1 y pleasing. Mr.
/
Davies is under the man-
agement of Mr. Wolfsohn.
The American public will
always be pleased to wel-
come this talented artist.
0
THE IDEAL CAST OF •• FAUST."
The close of the opera season has filled
the air with reminiscences. Among the
older opera-goers this is accompanied by
something like resentment. That which
has stirred them most is the use of the
word "ideal." This is an innovation of
this particular season. When applied to
the production of "Faust," the depths of
their souls are moved.
"If we must speak of an ideal cast of
'Faust,'" exclaims one dear lady, the lace
lappets of her hair nodding with the em-
phasis of her speech, " what is the matter
with the cast of 'Faust' at the Academy of
Music in 1873; that contained Nilsson,
Cary, Campanini, Galassi, and Maurel as
Valentine." It should be added in expla-
nation of the familiarity of this lady's
speech that she has grandchildren whom
she learns many phrases, such as ]"what's
the matter with."
"Can you ever forget," she continues,
"Nilsson's first entrance? 'No, sir, I am
no beautiful lady. I am only a simple
maiden.' It was George William Curtis
who wrote in the Easy Chair 'that strain
was like a perfume of violets wafted
through the air.' That said it for all time.
"While the 'ideal' Faust is a challenge
to verbal combat, there is plenty left to be
said. When was there ever a Figaro like
Amodio? Not even Del Puente, whose
toreador has never been approached. Have
any of you younger people ever heard
'Spirito Gentil' or 'La Donnae Mobile' sung
as by Brignoli, whose voice poured out like
liquid silver? Where is there a contralto
to-day that can compare with our own
Cary? Yet who sang 'O Mio Fernando' as
no prima donna ever heard, for her Favorita
was one of the greatest performances of the
stage. When was there ever a Cherubino
that compared to Lucca, when she trotted
down to the footlights, put her little feet
tight together, and sang 'Voi che Sopete'
until she pulled our hearts nearly out of our
mouths? Lucca was the forerunner of
Calve. She would go through a cadenza
as if she didn't care whether it was hit or
miss if she could only get at our feelings.
" I n the 'Huguenots' no one ever ap-
proached Nilsson and Campanini. Nilsson
was never anywhere else so truly great as
in the third act of the 'Huguenots.' As
for Campanini, if ever, in beauty of voice,
perfection of method, in dramatic power,
is found again his equal, the world may re-
gard itself as more fortunate than perhaps
in its forgetfulne&s it has a right to be."
There are others whose memories go fur-
ther back to Alboni, Malibran, and Jennie
Lind.
"Oh, Miss Lind," said one of these when
a schoolgirl in Cincinnati, and took it upon
herself to call on Jennie Lind.
"Oh, Miss Lind, you ought to sing with
the angels!"
"I would be the baddest singer among
them," said Jennie.
0
It is not absolutely necessary that a man
should write in order to inspire, to harmon-
ize, and to perpetuate ideas out of which
systems arise and schools are formed, says
Lord Lytton. Socrates himself wrote
nothing, but "Socrates taught Xenophon
and Plato." The minds of Xenophon and
Plato were the works he left behind him.
It is only, however, a very superior genius
in whom ideas thus spontaneously cast off
in familiar discourse can set into move-
ment the genius of great writers, and wing
in others the words by which those ideas
are borne on through space.
THE MUSIC TRADE REVIEW
cessful seasons in spite of the general
commercial depression, and, what is better
still, has made money. Whether he will
be so lucky in the management of opera on
a much larger and broader scale is a ques-
tion " 'twere better not to dwell on." The
wish is general that good fortune may
follow him in the future as in the past.
With the lesson of the Abbey, vSchoeffel &
Grau failure before him he should certain-
ly know what to avoid in order to suaeed.
o
The outlook for the success of the con-
vention of the Music Teachers' National
Association, to be held at the Grand Cen-
tral Palace, this city, from June 24th to
28th, is very encouraging. The plans out-
lined by the committee in charge are ex-
ceedingly comprehensive and merit the
support of all having at heart the interests
of this very worthy association. It be-
hooves teachers especially, and the musical
public at large, to not only attend the con-
vention, but to take an immediate and
practical interest in its success.
It is not to the credit of the music
teachers of this country that the association
has not been able to accomplish as much as
it might within recent years. There has
been an entire lack of interest, an absence
of enthusiasm. It is never too late to com-
mence, however, and there should be an
earnest effort made by all so that
the forthcoming meeting may mark the
inauguration of a changed and a better
condition of things for the association.
With the teachers' aid, the National Asso-
ciation can exercise a decided influence for
the betterment of musical art in this
country.
o
Sir Arthur Sullivan is at present chiefly
occupied with his new ballet in commemo-
ration of the Queen's reign, and this work
will be produced at the Alhambra shortly.
It is understood to deal more or less with
British sports and pastimes from Druidical
to our own days, but with special reference
to the Maypole dances and other village
gatherings of a couple of centuries ago.
Sullivan has also now accepted the scenario
of the "operatic drama" which Pinero and
Comyns Carr are writing for him. Al-
though doubtless containing plenty of the
comedy element, the opera will, the Athe-
nseum thinks, be rather more serious than is
usual at the Savoy, and it is hoped it will
be ready for production by October next,
o
The body of Johannes Brahms, the com-
poser, has been buried between the tombs
of Beethoven and Schubert. He left no
legal will—only a letter to his publisher,
Simrock, making the Society of Friends of
Music the sole heir of his fortune of $40,000
and the copyrights of his compositions, to-
gether with all his manuscripts and beauti-
ful collections of autographs.
o
The announcement is made that Mr.
Anton Seidl has been engaged by Frau
Cosima Wagner to conduct the perform-
ances of " Parsifal " which are to be given
at Bayreuth as parts of the festival on July
19, 27, 28 and 29, and August 8, 9, 11 and 19.
FRANQCON DAVIES.
This
distinguished artist has been
termed "England's great-
est baritone," and the
title is not misplaced.
When he made his first
appearance in this coun-
try last spring he made a
deep and lasting impres-
sion. His popularity has
been further accentuated
during his present tour.
Both in oratorio as well
as song recitals Mr. Frang-
con Davies is undoubtedly
v the superior of any artist
; heard here in years. He
has a remarkable voice,
r full of power, dramatic
; and sympathetic.
His
enunciation is distinct,
his intonation clear and
manner of singing ex-
t r e m e 1 y pleasing. Mr.
/
Davies is under the man-
agement of Mr. Wolfsohn.
The American public will
always be pleased to wel-
come this talented artist.
0
THE IDEAL CAST OF •• FAUST."
The close of the opera season has filled
the air with reminiscences. Among the
older opera-goers this is accompanied by
something like resentment. That which
has stirred them most is the use of the
word "ideal." This is an innovation of
this particular season. When applied to
the production of "Faust," the depths of
their souls are moved.
"If we must speak of an ideal cast of
'Faust,'" exclaims one dear lady, the lace
lappets of her hair nodding with the em-
phasis of her speech, " what is the matter
with the cast of 'Faust' at the Academy of
Music in 1873; that contained Nilsson,
Cary, Campanini, Galassi, and Maurel as
Valentine." It should be added in expla-
nation of the familiarity of this lady's
speech that she has grandchildren whom
she learns many phrases, such as ]"what's
the matter with."
"Can you ever forget," she continues,
"Nilsson's first entrance? 'No, sir, I am
no beautiful lady. I am only a simple
maiden.' It was George William Curtis
who wrote in the Easy Chair 'that strain
was like a perfume of violets wafted
through the air.' That said it for all time.
"While the 'ideal' Faust is a challenge
to verbal combat, there is plenty left to be
said. When was there ever a Figaro like
Amodio? Not even Del Puente, whose
toreador has never been approached. Have
any of you younger people ever heard
'Spirito Gentil' or 'La Donnae Mobile' sung
as by Brignoli, whose voice poured out like
liquid silver? Where is there a contralto
to-day that can compare with our own
Cary? Yet who sang 'O Mio Fernando' as
no prima donna ever heard, for her Favorita
was one of the greatest performances of the
stage. When was there ever a Cherubino
that compared to Lucca, when she trotted
down to the footlights, put her little feet
tight together, and sang 'Voi che Sopete'
until she pulled our hearts nearly out of our
mouths? Lucca was the forerunner of
Calve. She would go through a cadenza
as if she didn't care whether it was hit or
miss if she could only get at our feelings.
" I n the 'Huguenots' no one ever ap-
proached Nilsson and Campanini. Nilsson
was never anywhere else so truly great as
in the third act of the 'Huguenots.' As
for Campanini, if ever, in beauty of voice,
perfection of method, in dramatic power,
is found again his equal, the world may re-
gard itself as more fortunate than perhaps
in its forgetfulne&s it has a right to be."
There are others whose memories go fur-
ther back to Alboni, Malibran, and Jennie
Lind.
"Oh, Miss Lind," said one of these when
a schoolgirl in Cincinnati, and took it upon
herself to call on Jennie Lind.
"Oh, Miss Lind, you ought to sing with
the angels!"
"I would be the baddest singer among
them," said Jennie.
0
It is not absolutely necessary that a man
should write in order to inspire, to harmon-
ize, and to perpetuate ideas out of which
systems arise and schools are formed, says
Lord Lytton. Socrates himself wrote
nothing, but "Socrates taught Xenophon
and Plato." The minds of Xenophon and
Plato were the works he left behind him.
It is only, however, a very superior genius
in whom ideas thus spontaneously cast off
in familiar discourse can set into move-
ment the genius of great writers, and wing
in others the words by which those ideas
are borne on through space.
Future scanning projects are planned by the International Arcade Museum Library (IAML).