Music Trade Review
Issue: 1897 Vol. 25 N. 19 - Page 5
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THE MUSIC TRADE REVIEW
Bessie McDonald, Lloyd D'Aubigne, G.
W. Fergusson and Homer Lind. D'
Aubigne has sung the principal tenor
roles. Miss Esty has sung Marguerite,
Elsa, Elizabeth, Juliet and Santuzza.
Maurice Grau came over from Paris last
week to hear D'Aubigne and Miss Esty
sing Romeo and Juliet, so that both of
them are hoping for engagements at Cov-
ent Garden next season and for the next
season of grand opera in New York, under
Grau's management.
Lloyd D'Aubigne is a protege of Jean De
Reszke, to whose interest in his work is
due much of the young Virginian's ad-
vancement. Although his stage work be-
gan only five years ago, honors have come
to him very rapidly of late, so that his
future seems assured. Calve is desirous
that he shall sing Faust to her Marguerite
in Paris and has arranged that he be given
a trial bythe directors of the Grand Opera.
The Carl Rosa company has also engaged
him to sing Lohengrin and Siegfried in the
provinces next month, and he has accepted
the offer, desiring the experience in the
parts.
D'Aubigne's own aspirations were origi-
nally toward comic opera during the two
years he served in Augustin Daly's com-
pany. He studied in Florence in his vaca-
tions during those years.
Before he
gained a foothold on the operatic stage,
and after the last Metropolitan season,
D'Aubigne came to Paris to study under
De Reszke's old teacher, Sbiglia, the one
who changed the Polish singer's voice from
baritone to tenor. He returns to Paris
after his present engagement.
Miss Esty, who is a Bostonian, has won
all her laurels away from home. She has
been abroad since 1889, and since that year
has made a tour of Australia,and has sung
forty operatic roles during the four seasons
she has been with the Carl Rosa company.
Most of her study of late has been devoted
to Wagner. In the intervals of operatic
work she is doing much oratorio singing,
no artist in England being more in demand
for this work. She hopes soon to sing in
America.
o
ANTOINETTE TREBELLI.
The cover page of this issue is adorned
by the portrait of Antoinette Trebelli, the
r young soprano who made her New York
debut with such pronounced success yes-
terday afternoon at the concert of the New
York Symphony Society. Miss Trebelli is
the daughter of the famous contralto Zelie
Trebelli, who sang here with the Abbey
company at the opening of the Metro-
politan Opera House. Miss Trebelli is well
known in England and Australia as an ex-
cellent concert and oratorio singer. After
her New York concert she will sing in Cin-
cinnati, Columbus and Chicago. By vir-
tue of her special talents Miss Trebelli is
destined to become a great popular favorite
wherever she appears,
o
Marcella Sembrich's return to the Ameri-
can stage has been a deserved triumph for
one of the world's greatest lyric singers.
n. ALEXANDRE GUILriANT.
Wherever organ music is appreciated the
compositions of Alexandre Guilmant are
held in high esteem, and it is safe to assert
that of all modern foreign composers his
name figures most largely in the programs
of our organists' recitals.
M. Guilmant's career has been unevent-
ful in many ways. He was born in a mu-
sical atmosphere, so to speak; his father
was organist of St. Nicholas, Boulogne,
a post which he held for close on fifty
years, and his son, who was born on March
12, 1837, had the advantage of receiving
his early tuition from his father and at the
age of twelve began to deputize for him.
He studied harmony with Carulli and when
sixteen years of age was appointed organ-
ist of St. Joseph's, Boulogne. Two years
later his first composition, a Mass, was
performed in the Church of St. Nicholas,
that city. In '57 he became choir master
of his father's church and professor of sol-
feggio in the Communal school, and con-
ductor of a musical society. He later en-
tered the Brussels Conservatoire and be-
came the favorite pupil of Lemmens.
By degrees Guilmant came more and
more to the front and when thirty-four
years of age, in 1871, he was appointed or-
ganist of La Trinite in place of M. Chau-
vet, who had just died. His celebrated
series of free recitals in the hall of the
Trocadero during the Exposition of 1879
doened the eyes of the French to the beau-
ties of the great works of Handel and Bach.
In 1890 Guilmant played before the Queen
at Windsor and extemporized upon a theme
which she gave him, with such success as
to win her warm admiration.
During his stay in Rome M. Guilmant
was received at a special audience by Pope
Leo XIII., who created him a commander
of the order of St. Gregory the Great. In
1893 he had the honor of
being made a Chevalier de
la Legion d'Honneur. Dur-
ing the World's Fair he was
invited to visit Chicago, and
his recitals were so successful
that engagements to play in
the principal towns in the
United States and Canada
were offered him, and be-
fore he left for home the
Manuscript Society gave a
banquet in his honor at which
artists from all parts of
America were present.
Naturally the musical ser-
vices at La Trinity attract
musicians from all parts of
the world. M. Guilmant is
the solo organist, M. Salome
the accompanist, and M.
Bouichere the choir-master.
His duties at La Trinite* are
not by any means light. For
ten months of the year he
gives a recital each week,
and every term plays right
through the nine volumes of
Peter's edition of Bach's works. M. Guil-
mant strongly objects to compositions of
such writers as Morandi, and the only
Italian composer for whom he has any re-
spect is Capocci. On the other hand, he
thinks S. S. Wesley is our best organ com-
poser, and he often plays his compositions
in Paris. One remarkable feature of M.
Guilmant's playing is his wonderful power
of extemporization, which he considers is
very necessary to an organist's equipment.
Fine themes, sustained interest, refined
and scholarly treatment, and that nameless
charm which is the true inspiration and in-
dividuality of the composer (and which so
distinguished the music of his master and
friend, M. Lemmens)—these are the char-
acteristic properties of Guilmant's music.
As a composer M. Guilmant has shown
versatility and wide sympathies. His most
important compositions are his four Organ
Sonatas, the series of compositions under
the title of " T h e Practical Organist," and
many transcriptions from old masters as
CHICKERINO & SONS,
Grand Orchestral Concerts,
ANTON SEIDL,
Conductor.
DATES OF CONCERTS:
November 9, 1897, 3 P. M. (Hoffman)
January 4, 1898, 3 P. M. (Scharwenka)
March 1, 1898, 3 P. M. (Rummel)
December 7,1897,8 30 P. M. (Scharwenka)
February 1, 1898, 8 30 P. M. (Rummel)
April 5, 1898,
3 P. M. (Scharwenka)
FRANZ RUHMEL, XAVER SCHARWENKA AND RICHARD HOFFflAN WILL PLAY THE CHICKERINd PIANO.
«#••• r nc s s i r i e ' Admission.
Balcony Reserved.
Orchestra,
Course Tickets.
SCALE OF PRICES, f 5 O Cents.
$1.00.
$1.50.
* s and $7-50.
Franz Rummel will give an Afternoon Recital at 3 o'clock, February 8, 1898.
THE MUSIC TRADE REVIEW
Bessie McDonald, Lloyd D'Aubigne, G.
W. Fergusson and Homer Lind. D'
Aubigne has sung the principal tenor
roles. Miss Esty has sung Marguerite,
Elsa, Elizabeth, Juliet and Santuzza.
Maurice Grau came over from Paris last
week to hear D'Aubigne and Miss Esty
sing Romeo and Juliet, so that both of
them are hoping for engagements at Cov-
ent Garden next season and for the next
season of grand opera in New York, under
Grau's management.
Lloyd D'Aubigne is a protege of Jean De
Reszke, to whose interest in his work is
due much of the young Virginian's ad-
vancement. Although his stage work be-
gan only five years ago, honors have come
to him very rapidly of late, so that his
future seems assured. Calve is desirous
that he shall sing Faust to her Marguerite
in Paris and has arranged that he be given
a trial bythe directors of the Grand Opera.
The Carl Rosa company has also engaged
him to sing Lohengrin and Siegfried in the
provinces next month, and he has accepted
the offer, desiring the experience in the
parts.
D'Aubigne's own aspirations were origi-
nally toward comic opera during the two
years he served in Augustin Daly's com-
pany. He studied in Florence in his vaca-
tions during those years.
Before he
gained a foothold on the operatic stage,
and after the last Metropolitan season,
D'Aubigne came to Paris to study under
De Reszke's old teacher, Sbiglia, the one
who changed the Polish singer's voice from
baritone to tenor. He returns to Paris
after his present engagement.
Miss Esty, who is a Bostonian, has won
all her laurels away from home. She has
been abroad since 1889, and since that year
has made a tour of Australia,and has sung
forty operatic roles during the four seasons
she has been with the Carl Rosa company.
Most of her study of late has been devoted
to Wagner. In the intervals of operatic
work she is doing much oratorio singing,
no artist in England being more in demand
for this work. She hopes soon to sing in
America.
o
ANTOINETTE TREBELLI.
The cover page of this issue is adorned
by the portrait of Antoinette Trebelli, the
r young soprano who made her New York
debut with such pronounced success yes-
terday afternoon at the concert of the New
York Symphony Society. Miss Trebelli is
the daughter of the famous contralto Zelie
Trebelli, who sang here with the Abbey
company at the opening of the Metro-
politan Opera House. Miss Trebelli is well
known in England and Australia as an ex-
cellent concert and oratorio singer. After
her New York concert she will sing in Cin-
cinnati, Columbus and Chicago. By vir-
tue of her special talents Miss Trebelli is
destined to become a great popular favorite
wherever she appears,
o
Marcella Sembrich's return to the Ameri-
can stage has been a deserved triumph for
one of the world's greatest lyric singers.
n. ALEXANDRE GUILriANT.
Wherever organ music is appreciated the
compositions of Alexandre Guilmant are
held in high esteem, and it is safe to assert
that of all modern foreign composers his
name figures most largely in the programs
of our organists' recitals.
M. Guilmant's career has been unevent-
ful in many ways. He was born in a mu-
sical atmosphere, so to speak; his father
was organist of St. Nicholas, Boulogne,
a post which he held for close on fifty
years, and his son, who was born on March
12, 1837, had the advantage of receiving
his early tuition from his father and at the
age of twelve began to deputize for him.
He studied harmony with Carulli and when
sixteen years of age was appointed organ-
ist of St. Joseph's, Boulogne. Two years
later his first composition, a Mass, was
performed in the Church of St. Nicholas,
that city. In '57 he became choir master
of his father's church and professor of sol-
feggio in the Communal school, and con-
ductor of a musical society. He later en-
tered the Brussels Conservatoire and be-
came the favorite pupil of Lemmens.
By degrees Guilmant came more and
more to the front and when thirty-four
years of age, in 1871, he was appointed or-
ganist of La Trinite in place of M. Chau-
vet, who had just died. His celebrated
series of free recitals in the hall of the
Trocadero during the Exposition of 1879
doened the eyes of the French to the beau-
ties of the great works of Handel and Bach.
In 1890 Guilmant played before the Queen
at Windsor and extemporized upon a theme
which she gave him, with such success as
to win her warm admiration.
During his stay in Rome M. Guilmant
was received at a special audience by Pope
Leo XIII., who created him a commander
of the order of St. Gregory the Great. In
1893 he had the honor of
being made a Chevalier de
la Legion d'Honneur. Dur-
ing the World's Fair he was
invited to visit Chicago, and
his recitals were so successful
that engagements to play in
the principal towns in the
United States and Canada
were offered him, and be-
fore he left for home the
Manuscript Society gave a
banquet in his honor at which
artists from all parts of
America were present.
Naturally the musical ser-
vices at La Trinity attract
musicians from all parts of
the world. M. Guilmant is
the solo organist, M. Salome
the accompanist, and M.
Bouichere the choir-master.
His duties at La Trinite* are
not by any means light. For
ten months of the year he
gives a recital each week,
and every term plays right
through the nine volumes of
Peter's edition of Bach's works. M. Guil-
mant strongly objects to compositions of
such writers as Morandi, and the only
Italian composer for whom he has any re-
spect is Capocci. On the other hand, he
thinks S. S. Wesley is our best organ com-
poser, and he often plays his compositions
in Paris. One remarkable feature of M.
Guilmant's playing is his wonderful power
of extemporization, which he considers is
very necessary to an organist's equipment.
Fine themes, sustained interest, refined
and scholarly treatment, and that nameless
charm which is the true inspiration and in-
dividuality of the composer (and which so
distinguished the music of his master and
friend, M. Lemmens)—these are the char-
acteristic properties of Guilmant's music.
As a composer M. Guilmant has shown
versatility and wide sympathies. His most
important compositions are his four Organ
Sonatas, the series of compositions under
the title of " T h e Practical Organist," and
many transcriptions from old masters as
CHICKERINO & SONS,
Grand Orchestral Concerts,
ANTON SEIDL,
Conductor.
DATES OF CONCERTS:
November 9, 1897, 3 P. M. (Hoffman)
January 4, 1898, 3 P. M. (Scharwenka)
March 1, 1898, 3 P. M. (Rummel)
December 7,1897,8 30 P. M. (Scharwenka)
February 1, 1898, 8 30 P. M. (Rummel)
April 5, 1898,
3 P. M. (Scharwenka)
FRANZ RUHMEL, XAVER SCHARWENKA AND RICHARD HOFFflAN WILL PLAY THE CHICKERINd PIANO.
«#••• r nc s s i r i e ' Admission.
Balcony Reserved.
Orchestra,
Course Tickets.
SCALE OF PRICES, f 5 O Cents.
$1.00.
$1.50.
* s and $7-50.
Franz Rummel will give an Afternoon Recital at 3 o'clock, February 8, 1898.
Future scanning projects are planned by the International Arcade Museum Library (IAML).