Music Trade Review
Issue: 1897 Vol. 25 N. 1 - Page 5
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THE MUSIC TRADE REVIEW
among the standard compositions for that
instrument. For the rest, Leonard may
be taken as a fair example of Belgian
composers for the violin, and, while his
music does not do violence to the capaci-
ties of the instrument, it does not rise
often above the level of operatic fantasias.
Wieniawski has written some beautiful and
brilliant works, but they are without so-
lidity.
Of late, however, the Belgians
have followed the lead of the French in
cultivating a more serious taste in regard
to violin music, and the result is a closer
devotion to the works of the great masters
than was formerly the rule.
©
FARED BETTER THAN LONDON.
We had disappointments in the course
of the recent grand opera season in this
town. But they were the exception and
not the rule. For the most part when a
production was advertised the public was
not disappointed. London has had a differ-
ent experience. Changes at the last mo-
ment have been the order of the day.
Those who bought tickets expecting to
hear "The Meistersinger " or ''Tristan"
or "Siegfried," would find on arriving
that they were to be put off with "Travi-
ata," or " T h e Huguenots," or "Faust."
For the most part their disappointments
were due to M. Jean de Reszke. The result
is such protests as the following by Mr.
Runciman: "That Jean is the whole
Covent Garden Company, that Wagner
cannot be given successfully without him,
that Covent Garden cannot go on without
him —these are propositions to which no
critic in his senses will assent. If Jean
is not in fit state to play 'Walther,' or
'Tristan,' there cannot be the slightest
doubt that Van Dyck could do the parts
excellently ; some years ago the whole
' R i n g ' was given with the most surpris-
ing success by a German company withont
a tenor to compare with Jean De Reszke,and
if the truth should happen to be that Jean
thinks Covent Garden cannot* do without
him, Jean might be reminded that he was
not here in one of the most successful of
Sir Augustus Harris' seasons—that of 1895.
It is indeed ridiculous that we should have
to wait so long for the operas we chiefly
want to bear because a mere tenor has a
sore throat." Commenting on the forego-
ing the Sun says we may indeed congratu-
late ourselves that the members of the
great company which appeared last winter
at the Metropolitan showed greater consid-
eration for New York audiences than they
have for those of London. Of course, we
pay more for our opera, but that does not
explain everything.
MENTAL VIBRATIONS.
Gottfried Klein, a St. Louis artist, has
thrown away his palette and his paints to
devote the rest of his life to teaching arid
practising "mental vibration." He thinks
that the world is on the verge
of a new and important era—
an era in which mind will
dominate matter.
"The power of mind over
matter," he says, "will be the
power that will govern in
the coming century. People
laugh at us because we be-
lieve in the power of mental
vibration. It is not new.
What is it that soothes a child
to sleep? The music of the
mother's crooning songs ?
No; it is the vibration of the
musical chords,in the absence
of other sounds, that soothes.
Fast, lively music excites by
its vibrations, while soothing
music produces quietude.
"A man forms a dislike for
another whom he doesn't
know. Why? The mental
vibrations caused by the
other man do not harmonize
with his own, and there is jar
and discord. I can sit down,
close my eyes and concen-
trate my mind on my brother, who is far
away, and the vibrations of my mentality
meeting the vibrations of his form a me-
dium of communication that tells me where
and how he is."
Klein says he and his brother, who is
also an artist, will spend the rest of their
lives teaching people the wonders of men-
tal vibrations.
What next!
O
nR. WOLFSOHN'S LISTS OF ARTISTS.
Henry Wolfsohn arrived from Europe
last Saturday. He comes direct from the
summer home of Rosenthal, the pianist,
in the Tyrol. The latter has fully re-
covered his health, and will return to
America under Mr. Wolfsohn's manage-
ment in November. Herr Roseuthal re-
cently wrote to the German newspapers
denying the published reports that he had
married or intended marrying the lady
who nursed him during his illness here,
adding that he did not intend committing
bigamy, as he is still wedded to his piano.
He will open his season here with a recital
at Carnegie Hall on November 17.
Other artists whom Mr. Wolfsohn will
bring over next season are Mr. and Mrs.
Georg Henschel, who will give a series of
0
The musical season of 1897-98 will begin concerts, beginning in San Francisco in
with the first of a series of Sunday night October; Julius Klengel, who plays the
concerts at the Metropolitan Opera House Paganini violin concerto on the 'cello;
on November 7. Mr. Seidl, fresh from Henri Marteau, the violinist who has just
his European triumphs, will have his completed his three years' military service
orchestra, and distinguished soloists will in France ; Ffrangcon Davies, the bari-
appear. The list from which these artists tone; Mme. Barna, an American dramatic
will be drawn includes Marcella Sembrich, soprano, who may be heard with the
Pol Plancon, Nordica, Ysaye, Pngno, the Damrosch company; Mme. Brema, the
French pianist, Josef Hoffman and Jean contralto, who will give song recitals, and,
possibly, Mme. Sedlmair, who sang Isolde
Gerardy, the 'cellist.
in London this season. Mr. Wolfsohn
before leaving England arranged for a
series of concerts to be conducted by
Mr. Seidl at (Queen's Hall, London, next
spring.
HENRI MARTEAU.
We take pleasure in presenting herewith
the latest portrait of Henri Marteau, the
distinguished French violinist, who will
make his appearance in this country next
fall. Competent authorities who had the
pleasure of hearing this artist recently
state that he has made wonderful advance-
ment in bis art, notwithstanding that he
has spent a considerable portion of the
past three years in the army fulfilling his
duty as a citizen of the French Republic.
As a youth we acknowledged his suprem-
acy over the violin; now, that he is a man,
may we not expect the artist in his ma-
turity?
o
The music teacher who has something
to say can utter no complaint about the
absence of vehicles to convey his ideas
these days. With local and national con-
ventions and numerous assemblies in all
parts of the country opportunities for an
exploitation of his views are numerous,
and a respectful hearing is afforded him
whether he be an every day worker, a
mild reformer or a revolutionist.
The only wonder is that these multi-
farious gatherings are not more productive
of results. At all kinds of conventions
those in attendance are apt to enthuse and
approve of the ideas expressed, but forget
them once they get back to the usual
routine of work. In the union of thought
can be found strength and advancement.
Along these lines only can success be won.
o
American composers have reason to feel
hopeful. American operettas are becoming
quite the thing in Germany. This recog-
nition is certainly a compliment. It may
be the entering wedge to a more serious
consideration of the meritorious works of
our high-class composers.
THE MUSIC TRADE REVIEW
among the standard compositions for that
instrument. For the rest, Leonard may
be taken as a fair example of Belgian
composers for the violin, and, while his
music does not do violence to the capaci-
ties of the instrument, it does not rise
often above the level of operatic fantasias.
Wieniawski has written some beautiful and
brilliant works, but they are without so-
lidity.
Of late, however, the Belgians
have followed the lead of the French in
cultivating a more serious taste in regard
to violin music, and the result is a closer
devotion to the works of the great masters
than was formerly the rule.
©
FARED BETTER THAN LONDON.
We had disappointments in the course
of the recent grand opera season in this
town. But they were the exception and
not the rule. For the most part when a
production was advertised the public was
not disappointed. London has had a differ-
ent experience. Changes at the last mo-
ment have been the order of the day.
Those who bought tickets expecting to
hear "The Meistersinger " or ''Tristan"
or "Siegfried," would find on arriving
that they were to be put off with "Travi-
ata," or " T h e Huguenots," or "Faust."
For the most part their disappointments
were due to M. Jean de Reszke. The result
is such protests as the following by Mr.
Runciman: "That Jean is the whole
Covent Garden Company, that Wagner
cannot be given successfully without him,
that Covent Garden cannot go on without
him —these are propositions to which no
critic in his senses will assent. If Jean
is not in fit state to play 'Walther,' or
'Tristan,' there cannot be the slightest
doubt that Van Dyck could do the parts
excellently ; some years ago the whole
' R i n g ' was given with the most surpris-
ing success by a German company withont
a tenor to compare with Jean De Reszke,and
if the truth should happen to be that Jean
thinks Covent Garden cannot* do without
him, Jean might be reminded that he was
not here in one of the most successful of
Sir Augustus Harris' seasons—that of 1895.
It is indeed ridiculous that we should have
to wait so long for the operas we chiefly
want to bear because a mere tenor has a
sore throat." Commenting on the forego-
ing the Sun says we may indeed congratu-
late ourselves that the members of the
great company which appeared last winter
at the Metropolitan showed greater consid-
eration for New York audiences than they
have for those of London. Of course, we
pay more for our opera, but that does not
explain everything.
MENTAL VIBRATIONS.
Gottfried Klein, a St. Louis artist, has
thrown away his palette and his paints to
devote the rest of his life to teaching arid
practising "mental vibration." He thinks
that the world is on the verge
of a new and important era—
an era in which mind will
dominate matter.
"The power of mind over
matter," he says, "will be the
power that will govern in
the coming century. People
laugh at us because we be-
lieve in the power of mental
vibration. It is not new.
What is it that soothes a child
to sleep? The music of the
mother's crooning songs ?
No; it is the vibration of the
musical chords,in the absence
of other sounds, that soothes.
Fast, lively music excites by
its vibrations, while soothing
music produces quietude.
"A man forms a dislike for
another whom he doesn't
know. Why? The mental
vibrations caused by the
other man do not harmonize
with his own, and there is jar
and discord. I can sit down,
close my eyes and concen-
trate my mind on my brother, who is far
away, and the vibrations of my mentality
meeting the vibrations of his form a me-
dium of communication that tells me where
and how he is."
Klein says he and his brother, who is
also an artist, will spend the rest of their
lives teaching people the wonders of men-
tal vibrations.
What next!
O
nR. WOLFSOHN'S LISTS OF ARTISTS.
Henry Wolfsohn arrived from Europe
last Saturday. He comes direct from the
summer home of Rosenthal, the pianist,
in the Tyrol. The latter has fully re-
covered his health, and will return to
America under Mr. Wolfsohn's manage-
ment in November. Herr Roseuthal re-
cently wrote to the German newspapers
denying the published reports that he had
married or intended marrying the lady
who nursed him during his illness here,
adding that he did not intend committing
bigamy, as he is still wedded to his piano.
He will open his season here with a recital
at Carnegie Hall on November 17.
Other artists whom Mr. Wolfsohn will
bring over next season are Mr. and Mrs.
Georg Henschel, who will give a series of
0
The musical season of 1897-98 will begin concerts, beginning in San Francisco in
with the first of a series of Sunday night October; Julius Klengel, who plays the
concerts at the Metropolitan Opera House Paganini violin concerto on the 'cello;
on November 7. Mr. Seidl, fresh from Henri Marteau, the violinist who has just
his European triumphs, will have his completed his three years' military service
orchestra, and distinguished soloists will in France ; Ffrangcon Davies, the bari-
appear. The list from which these artists tone; Mme. Barna, an American dramatic
will be drawn includes Marcella Sembrich, soprano, who may be heard with the
Pol Plancon, Nordica, Ysaye, Pngno, the Damrosch company; Mme. Brema, the
French pianist, Josef Hoffman and Jean contralto, who will give song recitals, and,
possibly, Mme. Sedlmair, who sang Isolde
Gerardy, the 'cellist.
in London this season. Mr. Wolfsohn
before leaving England arranged for a
series of concerts to be conducted by
Mr. Seidl at (Queen's Hall, London, next
spring.
HENRI MARTEAU.
We take pleasure in presenting herewith
the latest portrait of Henri Marteau, the
distinguished French violinist, who will
make his appearance in this country next
fall. Competent authorities who had the
pleasure of hearing this artist recently
state that he has made wonderful advance-
ment in bis art, notwithstanding that he
has spent a considerable portion of the
past three years in the army fulfilling his
duty as a citizen of the French Republic.
As a youth we acknowledged his suprem-
acy over the violin; now, that he is a man,
may we not expect the artist in his ma-
turity?
o
The music teacher who has something
to say can utter no complaint about the
absence of vehicles to convey his ideas
these days. With local and national con-
ventions and numerous assemblies in all
parts of the country opportunities for an
exploitation of his views are numerous,
and a respectful hearing is afforded him
whether he be an every day worker, a
mild reformer or a revolutionist.
The only wonder is that these multi-
farious gatherings are not more productive
of results. At all kinds of conventions
those in attendance are apt to enthuse and
approve of the ideas expressed, but forget
them once they get back to the usual
routine of work. In the union of thought
can be found strength and advancement.
Along these lines only can success be won.
o
American composers have reason to feel
hopeful. American operettas are becoming
quite the thing in Germany. This recog-
nition is certainly a compliment. It may
be the entering wedge to a more serious
consideration of the meritorious works of
our high-class composers.
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