Music Trade Review

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THE MUSIC TRADE REVIEW
TJAS a composer or author any right
* *• over the reproduction of his music or
words on the "theatrophone"? It has been
left for the aged Verdi to raise this point
before the Judge of the "first canton" of
Brussels. In the recent electrical exhibi-
tion in that city a number of telephones
were set up in connection with a concert-
room. A number of people were thus
enabled to hear the music without the com-
posers being a penny piece the better.
The telephone company were appealed to
in vain to remit a reasonable profit of the
performance to the composers. But it was
not till a piece from "Rigoletto" was
played that the question was taken into
court. The result is that the company has
lost its case, its defence that the rights for
the execution of the music had already
been paid for being held by the Judge to
be no excuse for an infringement of copy-
right. Verdi has been indemnified for the
illegal reproductions, and the company has
been forbidden to give any more of his
music without his consent.
T^HE Castle Square Opera Co., who, for
* the past two seasons, have been such
potent factors in augmenting the musical
education of the people—at least those who
could or would not pay high prices to hear
distinguished artists on Broadway—have
started out this year to furnish their pa-
trons with a richer feast than ever. Since
the opening of the season there has been
presented in English "Die Meistersinger,"
"Romeo and Juliet," "Aida," "Tannhau-
ser," "II Trovatore," and next week we
are to have the ever-popular "Carmen."'
Truly a list of which the management can
well fell proud.
In connection with the presentation of
the Wagnerian works, many people con-
sider that the company are unwise in over-
taxing their strength by performing such
extremely trying and ambitious operas.
While there is some truth in this, it must
be conceded that their presentation is an
earnest of the good intentions of the man-
agement to bring these works, which have
hitherto been unknown to the masses of
the people, closer to them. It is easy to
criticise but it must be remembered that
there is a mountain of difference between
the prices on Eighth avenue and the prices
on Broadway. We are, however, of the
opinion that the former plan in vogue at
this theatre of alternating the heavier
operas with lighter works, is far preferable
to the present one of producing these heavy
works successively. It is too much of a
strain on the principals and chorus, and it
is a "gait" that cannot well be kept up.
Of the artists this season, who, by the
way, have been reinforced by many names
notable in grand opera work, nothing but
good words can be said. Yvonne De
Treville, Grace Golden and Selma Kronold
continue to win the most appreciative
notices for their splendid work in the var-
ious productions in which they have ap-
peared. Miss Treville, whose portrait ap-
pears on this page of The Review, is a
fascinating personality who deservedly
holds a conspicuous position among the
younger generation of singers of the day.
She has marked dramatic talent, intelli-
gence, and a voice that is large in range
and admirable in quality.
In another part of this paper appear
portraits of several of the artists who have
come in for more than the usual share of
favorable commendation, notably Oscar P.
Regneas, whose role of Landgrave in
"Tannhauser" showed him to be an artist
who deserves well of the public. He has a
splendid voice, sings with authority and,
better than all, enunciates well. Another
valuable acquisition to the company this
season is Barron Berthold, who has ap-
peared in all the leading productions up to
date. He has won, by his conscientious
work, a very warm place in the esteem of
the supporters of the Castle Square Co. Of
E. N. Knight, we need only say that he is
YVONNE DE TREVILLE.
too old a favorite at the American to need
any special words of commendation.
*
T H E plans of the management of the
*• Castle Square Opera Co. for the
season' are ambitious throughout, and while
many old opera favorites will be heard,
several absolute novelties will also be
forthcoming. The hearty support which
has been given this undertaking is in every
respect deserved. Thanks to the Castle
Square Co. 's enterprise American singers
have been stimulated to renewed efforts.
A new avenue has been opened whereby
they may bring their talents to public
notice, hitherto impossible unless through
European sources, while an army of music
lovers whose means are limited are enabled
to enjoy the great masters, thus promoting,
in a marked degree, a love for high-class
music. As a missionary for winning the
people from the music halls to a recognition
of the little knowr^ charms of grand opera
the Castle Square Co. deserve paeans of
praise. Indeed when we consider the part
this organization is playing toward incul-
cating a greater love for good music it
seems a little out of place for some of our
friends to be hypercritical—to expect a de-
gree of perfection in individual artists, in
choruses and in presentation which could
only be expected at the Metropolitan. We
must be more reasonable. In our opinion
the great hope of the musical future of
America lies undoubtedly in the establish-
ment of organizations like the Castle Square
Co. in every important city in the United
States.
\ 1 7 H I L E New York has been having a
* ^ very prosperous season of summer-
night concerts—so prosperous that it ex-
tended into the autumn—London has just
witnessed the failure of a series of prom-
enade concerts at Covent Garden, after
only a fortnight's season. Yet the New
York orchestra—Mr. Kaltenborn's—played
only good music by the great masters,
whereas in London they stooped to the
vulgar, by making a specialty of
vocal waltzes in costume, and intro-
ducing military bands in the "Tann-
hauser" and "Tell" overtures, and
the like. The London journals con-
sider the failure of this scheme a
good sign, indicating that the public
wants something better.
*
T N the pianistic world for the past
* few weeks De Pachmann has
been the central figure. At his
opening, in fact at all of his reci-
tals, he has been greeted by a host
of music lovers, who find much to
enjoy in this distinguished artist's
"reading" of the masters—notably
Chopin, in the interpretation of
whose works he occupies unques-
tionably first place among contem-
porary pianists. In all his playing
De Pachmann captivates by his
exquisite quality of tone, the ever-
changing colors which he produces—
microscopical nuances—distinct and
clear in all its delicacy.
One could wish for broader and
more forceful effects in his playing, particu-
larly of such composers as Weber, Schu-
mann, Mendelssohn and others, but many
are recompensed by a beauty of tone, techni-
cal facility and artistic finish that delight.
In some respects De Pachmann is absolu-
tely unique, and his recitals so far demon-
strate that his art makes a potent appeal to
a wide clientele of lovers of the best in
pianoforte music.
*
IX prima donnas at the Metropolitan
this year will be natives of this coun-
try, and are at least Americans by birth,
even if they live abroad, and are nearly as
foreign in every particular as those that
may have seen the light first in Poland or
the country of the lower Pyrenees. Mme.
Nordica has been abroad much of the time
during her twenty years on the stage, and
like Mme. Eames comes to this country
only to sing. Her husband is a foreigner,
and the husband of Mme. Eames, although
he comes of an American family, has spent
his whole life abroad. Both of these sing-
ers return to Europe at the close of their
season here, and spend no more time
in this country than the other singers not
native born. So do Mmes. Suzanne Adams
S