Music Trade Review
Issue: 1897 Vol. 25 N. 6 - Page 5
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
say that all popular music is vulgar; just
as absurd for instance as to say that all
vulgar music is popular. But the public
does not want the vulgar variety and it is
high time that an effort were made to
educate the masses at these open air con-
certs of the summer.
"Americans, as a class, have a fine ap-
preciation of music. Their aptitude for
discerning the essential charm of the high-
er music is remarkable and should^be culti-
vated with the greatest solicitude. They
like the better class of music when they
are permitted to hear it."
These remarks are very pertinent. The
programs for the Parks should be catholic,
popular if you will, but music hall concoc-
tions should not be served up week
after week to a long suffering public. The
aim should be to educate, to elevate. With
a few exceptions it is a pleasure for The
Review to state that bandmasters are pay-
ing closer attention than ever before to the
compiling of programs, and with good
results. During a recent visit to the Park
the writer was gratified to notice that a
classical number not commonly programed
was enthusiastically applauded.
The
masses can appreciate a "good thing,"
whether it is written by a Wagner, a
Beethoven, a Sousa or a Herbert, and
they don't stop to inquire who wrote it.
Hence "choice bits" of the classics that
can be enjoyed by all who love music
should be heard oftener in our public con-
certs, whether they be held in Mulberry
Bend or Central Park.
MUSICAL "CONFECTIONERS."
What a mistake is that we make of call-
ing all men composers that put notes to
paper! We do not allow that a man is an
artist on the strength of a vain endeavor to
paint a blue cow on a red tile, or a novelist
because he has contributed a wooden-
legged sketch of incident to The Yellow
Book; we even refuse the title poet to lib-
rettists and the gentlemen who write lyrics
for music; yet the persons who set the
lyrics and the librettos are ^composers one
and all.
We ourselves would divide them that
destroy the market value of clean music
paper into three classes: composers, mathe-
maticians and confectioners, says the Sat-
urday Review. The first is held by some
writers to be extinct, and though we do
not take that extreme view, we admit that
specimens are scarce enough; the second
infests our teaching institutions; the last,
the makers of sweet-stuff, threaten soon to
outnumber the public for which they cater.
If the young men and maidens who, am-
bitious of the composer's laurel crown, rush
faster every day into print with drawing-
room ballads, knew the only crown that
may be grasped that way, they might be
persuaded to leave off. And if cash and
not glory is what they seek, how can they
hope to compete with the old hands who
know every trick of the trade, and whose
factories are furnished with the latest ma-
chines and the best raw material?
MME. BELLE COLE.
Few if any of the noted
artists who are expected to
visit these shores next fall
will receive a warmer wel-
come than Mme. Belle Cole,
the distinguished vocalist,
who returns for a tour of
her native land under Mr.
Wolfsohn's direction, after
a residence of many years
in London. Mme. Cole has
appeared with phenomenal
success at all the important
musical festivals and prin-
cipal concerts in Great
Britain, and only last year
made a tour through Aus-
tralia, Tasmania and New
Zealand. Since that time
she has appeared at more
than one hundred concerts.
In fact Mme. Cole is one of
London's greatest favorites
and has had the honor of
having been "commanded"
by the Queen to appear be-
fore the German Emperor
at Albert Hall.
Mme. Belle Cole was born
in Chautauqua, N. Y., and
studied in this city, where
she later became soloist at
a prominent Fifth avenue
church. Her advancement
under local teachers was so rapid and se-
cure as to render for educational purposes
a visit to Europe for the time necessary.
In 1883 she accepted an engagement as
leading contralto with Theo. Thomas'
Grand Festival Tour. Previous to that
time she had been in the habit of singing
soprano parts, her voice being of so wide a
range as to enable her to reach F in alt, but
experience brought conviction that its full
powers, as well as its full beauty, lay chiefly
in the middle and lower registers, and it
DONIZETTI'S CENTENARY.
Donizetti's centenary is to be celebrated
at his birthplace, Bergamo, next month.
There will be a musical festival under the
direction of Signor Pizzi, the newly
appointed director of the conservatory of
music at Milan; and Mme. Melba and Mme.
Blauvelt, among other singers, are expected
to appear. The celebration recalls to mind,
and especially to the memory of old time
New Yorkers, a composer snatches from
whose operas could be heard in every
drawing room twenty-five years ago, and
whose pleasing melodies filled Castle Gar-
den and the old Academy of Music, when
"The Daughter of the Regiment," "Fa-
vorita," "Don Pasquale," "Linda di Cha-
mounix," "Lucia di Lammermoor" and
other operas bearing the imprint of Doni-
zetti's genius were given.
Who has not even to-day listened to
Patti's rendering of the mad scene from
"Lucia?" What drawing-room musical
education is complete which does not in-
clude among: its accomplishments some
pieces from Donizetti's operas? And the
is in music written for the mezzo-soprano
or the contralto that she has obtained her
great popularity. Mme. Cole attained
high distinction by her singing at the lead-
ing festivals and concerts in various parts
of the United States and Canada. In 1888
she resolved upon seeking the favor of the
English public, and at her first engage-
ment in "Elijah" at Eton College under
Sir Joseph Barnby she scored an instan-
taneous success. Mme. Cole's art may
now be said to be in its maturity.
memory of the man who has thrilled so
many hearts is to be duly honored by
celebrated artists from all over the globe
in the little town that gave him birth.
©
Maurice Grau, who "managed" during
the last season for the Covent Garden
Theatre in London, has been re-engaged
for the next four consecutive opera seasons.
o
THE NATIONAL MARCH.
Pretty big place—this country—hills an' valleys
an' plains:
Thanks be to God for the sunshine an' the fine an'
freshnin' rains!
An' the seed in the soil, an' the singin' of birds in
the meadows an' dells,
An' the ringin'—the liberty ringin' of the bells—of
the liberty bells!
It's " Forward march!" an' the music stirs like the
roll of a drum !
It's "Forward march!" an' the answer rings from
the skies: " We come ! "
An' we're marchin' on together, an' the goal—
thank God!—is in view
Three cheers for this great old country, an' the
red an' the white an' the blue!
—ATLANTA CONSTITUTION.
THE MUSIC TRADE REVIEW
say that all popular music is vulgar; just
as absurd for instance as to say that all
vulgar music is popular. But the public
does not want the vulgar variety and it is
high time that an effort were made to
educate the masses at these open air con-
certs of the summer.
"Americans, as a class, have a fine ap-
preciation of music. Their aptitude for
discerning the essential charm of the high-
er music is remarkable and should^be culti-
vated with the greatest solicitude. They
like the better class of music when they
are permitted to hear it."
These remarks are very pertinent. The
programs for the Parks should be catholic,
popular if you will, but music hall concoc-
tions should not be served up week
after week to a long suffering public. The
aim should be to educate, to elevate. With
a few exceptions it is a pleasure for The
Review to state that bandmasters are pay-
ing closer attention than ever before to the
compiling of programs, and with good
results. During a recent visit to the Park
the writer was gratified to notice that a
classical number not commonly programed
was enthusiastically applauded.
The
masses can appreciate a "good thing,"
whether it is written by a Wagner, a
Beethoven, a Sousa or a Herbert, and
they don't stop to inquire who wrote it.
Hence "choice bits" of the classics that
can be enjoyed by all who love music
should be heard oftener in our public con-
certs, whether they be held in Mulberry
Bend or Central Park.
MUSICAL "CONFECTIONERS."
What a mistake is that we make of call-
ing all men composers that put notes to
paper! We do not allow that a man is an
artist on the strength of a vain endeavor to
paint a blue cow on a red tile, or a novelist
because he has contributed a wooden-
legged sketch of incident to The Yellow
Book; we even refuse the title poet to lib-
rettists and the gentlemen who write lyrics
for music; yet the persons who set the
lyrics and the librettos are ^composers one
and all.
We ourselves would divide them that
destroy the market value of clean music
paper into three classes: composers, mathe-
maticians and confectioners, says the Sat-
urday Review. The first is held by some
writers to be extinct, and though we do
not take that extreme view, we admit that
specimens are scarce enough; the second
infests our teaching institutions; the last,
the makers of sweet-stuff, threaten soon to
outnumber the public for which they cater.
If the young men and maidens who, am-
bitious of the composer's laurel crown, rush
faster every day into print with drawing-
room ballads, knew the only crown that
may be grasped that way, they might be
persuaded to leave off. And if cash and
not glory is what they seek, how can they
hope to compete with the old hands who
know every trick of the trade, and whose
factories are furnished with the latest ma-
chines and the best raw material?
MME. BELLE COLE.
Few if any of the noted
artists who are expected to
visit these shores next fall
will receive a warmer wel-
come than Mme. Belle Cole,
the distinguished vocalist,
who returns for a tour of
her native land under Mr.
Wolfsohn's direction, after
a residence of many years
in London. Mme. Cole has
appeared with phenomenal
success at all the important
musical festivals and prin-
cipal concerts in Great
Britain, and only last year
made a tour through Aus-
tralia, Tasmania and New
Zealand. Since that time
she has appeared at more
than one hundred concerts.
In fact Mme. Cole is one of
London's greatest favorites
and has had the honor of
having been "commanded"
by the Queen to appear be-
fore the German Emperor
at Albert Hall.
Mme. Belle Cole was born
in Chautauqua, N. Y., and
studied in this city, where
she later became soloist at
a prominent Fifth avenue
church. Her advancement
under local teachers was so rapid and se-
cure as to render for educational purposes
a visit to Europe for the time necessary.
In 1883 she accepted an engagement as
leading contralto with Theo. Thomas'
Grand Festival Tour. Previous to that
time she had been in the habit of singing
soprano parts, her voice being of so wide a
range as to enable her to reach F in alt, but
experience brought conviction that its full
powers, as well as its full beauty, lay chiefly
in the middle and lower registers, and it
DONIZETTI'S CENTENARY.
Donizetti's centenary is to be celebrated
at his birthplace, Bergamo, next month.
There will be a musical festival under the
direction of Signor Pizzi, the newly
appointed director of the conservatory of
music at Milan; and Mme. Melba and Mme.
Blauvelt, among other singers, are expected
to appear. The celebration recalls to mind,
and especially to the memory of old time
New Yorkers, a composer snatches from
whose operas could be heard in every
drawing room twenty-five years ago, and
whose pleasing melodies filled Castle Gar-
den and the old Academy of Music, when
"The Daughter of the Regiment," "Fa-
vorita," "Don Pasquale," "Linda di Cha-
mounix," "Lucia di Lammermoor" and
other operas bearing the imprint of Doni-
zetti's genius were given.
Who has not even to-day listened to
Patti's rendering of the mad scene from
"Lucia?" What drawing-room musical
education is complete which does not in-
clude among: its accomplishments some
pieces from Donizetti's operas? And the
is in music written for the mezzo-soprano
or the contralto that she has obtained her
great popularity. Mme. Cole attained
high distinction by her singing at the lead-
ing festivals and concerts in various parts
of the United States and Canada. In 1888
she resolved upon seeking the favor of the
English public, and at her first engage-
ment in "Elijah" at Eton College under
Sir Joseph Barnby she scored an instan-
taneous success. Mme. Cole's art may
now be said to be in its maturity.
memory of the man who has thrilled so
many hearts is to be duly honored by
celebrated artists from all over the globe
in the little town that gave him birth.
©
Maurice Grau, who "managed" during
the last season for the Covent Garden
Theatre in London, has been re-engaged
for the next four consecutive opera seasons.
o
THE NATIONAL MARCH.
Pretty big place—this country—hills an' valleys
an' plains:
Thanks be to God for the sunshine an' the fine an'
freshnin' rains!
An' the seed in the soil, an' the singin' of birds in
the meadows an' dells,
An' the ringin'—the liberty ringin' of the bells—of
the liberty bells!
It's " Forward march!" an' the music stirs like the
roll of a drum !
It's "Forward march!" an' the answer rings from
the skies: " We come ! "
An' we're marchin' on together, an' the goal—
thank God!—is in view
Three cheers for this great old country, an' the
red an' the white an' the blue!
—ATLANTA CONSTITUTION.
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