Music Trade Review
Issue: 1901 Vol. 33 N. 14 - Page 8
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THE MUSIC ) TRADE REVIEW
ITALY'S GREAT LOSS.
HP H I S year may be said to have been fatal
to Italy, as she has lost, besides men
of lesser importance, Verdi, Crispi, and Mo-
relli, her veteran composer, her most prom-
inent statesman, and her greatest painter.
Verdi and Morelli were bound by the most
tender friendship since their youth, and had
a reciprocal admiration for each other's tal-
ent, Verdi saying: "I would give all my
operas to have produced one of the Christs
of Morelli" ; while the latter, with equal sin-
cerity, said: "I would give all my pictures
to have composed 'II Trovatore.' "
GIRARDY THE GREAT.
\ 1 7 E present herewith the latest portrait
of Gerardy, the phenomenal 'cellist,
who will visit us this season, after a success-
ful tour of the world. To-day Gerardy is
beyond question one of the masters of his
instrument—more matured, more skilled,
more finished than ever. His technical equip-
ment is complete, while his tone is of uncom-
mon richness.
j»
ARCHER'S CRITICISM.
A I M L L I A M ARCHER, the noted London
critic, has come out with a vigorous
attack on recent American musical comedy
productions. He says: "There is a decided
slump in the American extravaganza market
in London, which is likely to last until the
librettists can hit upon some fresher and more
inspiring theme than the epileptic glorifica-
tion of loose living and deep drinking."
There is some justification for Mr. Archer's
criticism. So-called musical comedy has de-
scended to a basis of buffoonery that is sim-
ply painful. Handsome women, expensive
dresses, stage lights and scenery, will not
make up for vacuous plots and silly wit.
We seem to import nowadays our best musi-
cal comedies, judging from recent successes*
in New York.
JOSEF HOFMANN.
A MONG the most prominent of the piano
^ - virtuosi who are to be heard in this
country during the coming season is Josef
Hofmann. This will be his fourth American
tour, but it will be the first time that he will
journey clear through the country. His first
appearance will be with the Philharmonic
Society in New York city, on Nov. 15th and
16th, and on the 23d and 27th of the same
month he will give two recitals in New York.
On the 28th and 29th of November he will
be the soloist with the Boston Symphony
Orchestra in Boston, and on Dec. n t h , 13th
and 14th, he will again play with the Boston
Symphony Orchestra in Philadelphia, Brook-
lyn and New York. Following these en-
gagements he will begin a recital tour, visit-
ing the larger cities in the South, Mexico,
California and Canada. Hofmann will give
100 recitals and will remain here until late
in April.
RECITALS THIS SEASON.
I T is evident that the musical season now
* opening will be as notable for song re-
citals as that of last year, when the appear-
ance of many eminent artists, including some
distinguished operatic stars, was attended by
remarkable pecuniary (success. To those mu-
sically inclined, as well as students of sing-
ing, there is no more delightful means of es-
timating the great talents possessed by some
of our great vocalists than by hearing them
in recital.
JEAN GERARDY.
THE MUSIC FESTIVAL SEASON.
'"THE Maine musical festivals, which were
*
successfully inaugurated in Bangor on
last Thursday, concluding to-day, will be
duplicated in Portland on Oct. 7th, 8th and
9th, the programs being identical. "The Re-
demption," with a chorus of one thousand
voices under Director Chapman, will form
the principal choral work, the usual small-
er numbers, both vocal and instrumental,
being of course embodied in a very interest-
ing program. The New Hampshire musi-
cal festival, which will be held on Oct. 10th,
n t h and 12th, and the Vermont festival, which
occurs on Oct. 14th, 15th and 16th, will be
also under the direction of William R. Chap-
man. In these States there will be a chorus
of six hundred voices with the same orches-
tra as assisted at the Maine festivals. The
soloists in New Hampshire and Vermont will
be the same as appeared at the Maine fes-
tival last week, and are headed by Mme.
Schumann-Heink and Miss Suzanne Adams;
Campanari and Gwilym Miles, baritones;
Willis E. Bacheller, tenor; Mme. Maconda,
soprano; Mme. Isabelle Bouton and Mrs.
Jennie King Morrison, contraltos; Miss
Carrie Hirschmann, pianist, and Miss Anna
E. Otten, violinist.
These festivals are looked forward to with
the greatest interest by the musical people
of the respective States in which they are
given, and the fact that they are growing
in popularity each year
emphasizes to no mean
extent the musical prog-
ress of the people of
these old but progressive
New England States.
A WAGNER STORY.
C LS1E POLKO, a
*-"* G e r m a n writer,
tells a touching story in
connection with "Der
Wanderer" and "Ach,
Wie Ist's M 6 g 1 i c h"
("How Can I Leave
Thee") two Thuringian
songs known all the
world over. "Der Wan-
derer" was composed in
1837
by
Friedrich
Bruckner, father of Os-
kar Bruckner, the 'cell-
ist, and "Ach, Wie Ist's
Moglich" was the com-
position of Bruckner's
friend, Kantor Johann
Ludwig Bohner, both of
Erfurt.
In May, 1849, Wag-
ner had to make his
escape from Dresden,
and he arrived at Er-
furt, on his way to
Paris, to be conducted
across the frontier by
Bruckner and Bohner.
As he was being accompanied through the
streets in the moonlight he stopped sudden-
ly to listen to some female voices singing
"Ach, Wie Ist's Moglich," and to the horror
of his friends, would not budge until he had
heard the last note. "I know the melody,"
he said. "It is sung everywhere. Let me hear
every line. What a beautiful parting song!
I wish I had composed it!"
As he took his seat in the closed vehicle
that was waiting impatiently to take him
further on his journey, a soft voice started
"The Wanderer":
Wenn ich den Wand'rer frage:
Wo willst du hin?
And all joined in the refrain
Nach Hause, nach Hause!
But at the last line:
Hab' Keine Heimat mehr!
A choking voice called out "Da Capo!" Then
the horses started, and as the party passed
out into the moonlight, and that lament "Hab'
Keine Heimat Mehr!" (as "I Have No Home
Now") became fainter and fainter, the lonely
fugitive buried his face in the cushions and
wept bitterly.
CORNELIAVANETTEN
PRIMA DONNA SOPRANO
AND TEACHER IN THE
CHARLES L. YOUNG
SCHOOL
OF MUSIC
305 FIFTH AVE., NEW YORK
THE MUSIC ) TRADE REVIEW
ITALY'S GREAT LOSS.
HP H I S year may be said to have been fatal
to Italy, as she has lost, besides men
of lesser importance, Verdi, Crispi, and Mo-
relli, her veteran composer, her most prom-
inent statesman, and her greatest painter.
Verdi and Morelli were bound by the most
tender friendship since their youth, and had
a reciprocal admiration for each other's tal-
ent, Verdi saying: "I would give all my
operas to have produced one of the Christs
of Morelli" ; while the latter, with equal sin-
cerity, said: "I would give all my pictures
to have composed 'II Trovatore.' "
GIRARDY THE GREAT.
\ 1 7 E present herewith the latest portrait
of Gerardy, the phenomenal 'cellist,
who will visit us this season, after a success-
ful tour of the world. To-day Gerardy is
beyond question one of the masters of his
instrument—more matured, more skilled,
more finished than ever. His technical equip-
ment is complete, while his tone is of uncom-
mon richness.
j»
ARCHER'S CRITICISM.
A I M L L I A M ARCHER, the noted London
critic, has come out with a vigorous
attack on recent American musical comedy
productions. He says: "There is a decided
slump in the American extravaganza market
in London, which is likely to last until the
librettists can hit upon some fresher and more
inspiring theme than the epileptic glorifica-
tion of loose living and deep drinking."
There is some justification for Mr. Archer's
criticism. So-called musical comedy has de-
scended to a basis of buffoonery that is sim-
ply painful. Handsome women, expensive
dresses, stage lights and scenery, will not
make up for vacuous plots and silly wit.
We seem to import nowadays our best musi-
cal comedies, judging from recent successes*
in New York.
JOSEF HOFMANN.
A MONG the most prominent of the piano
^ - virtuosi who are to be heard in this
country during the coming season is Josef
Hofmann. This will be his fourth American
tour, but it will be the first time that he will
journey clear through the country. His first
appearance will be with the Philharmonic
Society in New York city, on Nov. 15th and
16th, and on the 23d and 27th of the same
month he will give two recitals in New York.
On the 28th and 29th of November he will
be the soloist with the Boston Symphony
Orchestra in Boston, and on Dec. n t h , 13th
and 14th, he will again play with the Boston
Symphony Orchestra in Philadelphia, Brook-
lyn and New York. Following these en-
gagements he will begin a recital tour, visit-
ing the larger cities in the South, Mexico,
California and Canada. Hofmann will give
100 recitals and will remain here until late
in April.
RECITALS THIS SEASON.
I T is evident that the musical season now
* opening will be as notable for song re-
citals as that of last year, when the appear-
ance of many eminent artists, including some
distinguished operatic stars, was attended by
remarkable pecuniary (success. To those mu-
sically inclined, as well as students of sing-
ing, there is no more delightful means of es-
timating the great talents possessed by some
of our great vocalists than by hearing them
in recital.
JEAN GERARDY.
THE MUSIC FESTIVAL SEASON.
'"THE Maine musical festivals, which were
*
successfully inaugurated in Bangor on
last Thursday, concluding to-day, will be
duplicated in Portland on Oct. 7th, 8th and
9th, the programs being identical. "The Re-
demption," with a chorus of one thousand
voices under Director Chapman, will form
the principal choral work, the usual small-
er numbers, both vocal and instrumental,
being of course embodied in a very interest-
ing program. The New Hampshire musi-
cal festival, which will be held on Oct. 10th,
n t h and 12th, and the Vermont festival, which
occurs on Oct. 14th, 15th and 16th, will be
also under the direction of William R. Chap-
man. In these States there will be a chorus
of six hundred voices with the same orches-
tra as assisted at the Maine festivals. The
soloists in New Hampshire and Vermont will
be the same as appeared at the Maine fes-
tival last week, and are headed by Mme.
Schumann-Heink and Miss Suzanne Adams;
Campanari and Gwilym Miles, baritones;
Willis E. Bacheller, tenor; Mme. Maconda,
soprano; Mme. Isabelle Bouton and Mrs.
Jennie King Morrison, contraltos; Miss
Carrie Hirschmann, pianist, and Miss Anna
E. Otten, violinist.
These festivals are looked forward to with
the greatest interest by the musical people
of the respective States in which they are
given, and the fact that they are growing
in popularity each year
emphasizes to no mean
extent the musical prog-
ress of the people of
these old but progressive
New England States.
A WAGNER STORY.
C LS1E POLKO, a
*-"* G e r m a n writer,
tells a touching story in
connection with "Der
Wanderer" and "Ach,
Wie Ist's M 6 g 1 i c h"
("How Can I Leave
Thee") two Thuringian
songs known all the
world over. "Der Wan-
derer" was composed in
1837
by
Friedrich
Bruckner, father of Os-
kar Bruckner, the 'cell-
ist, and "Ach, Wie Ist's
Moglich" was the com-
position of Bruckner's
friend, Kantor Johann
Ludwig Bohner, both of
Erfurt.
In May, 1849, Wag-
ner had to make his
escape from Dresden,
and he arrived at Er-
furt, on his way to
Paris, to be conducted
across the frontier by
Bruckner and Bohner.
As he was being accompanied through the
streets in the moonlight he stopped sudden-
ly to listen to some female voices singing
"Ach, Wie Ist's Moglich," and to the horror
of his friends, would not budge until he had
heard the last note. "I know the melody,"
he said. "It is sung everywhere. Let me hear
every line. What a beautiful parting song!
I wish I had composed it!"
As he took his seat in the closed vehicle
that was waiting impatiently to take him
further on his journey, a soft voice started
"The Wanderer":
Wenn ich den Wand'rer frage:
Wo willst du hin?
And all joined in the refrain
Nach Hause, nach Hause!
But at the last line:
Hab' Keine Heimat mehr!
A choking voice called out "Da Capo!" Then
the horses started, and as the party passed
out into the moonlight, and that lament "Hab'
Keine Heimat Mehr!" (as "I Have No Home
Now") became fainter and fainter, the lonely
fugitive buried his face in the cushions and
wept bitterly.
CORNELIAVANETTEN
PRIMA DONNA SOPRANO
AND TEACHER IN THE
CHARLES L. YOUNG
SCHOOL
OF MUSIC
305 FIFTH AVE., NEW YORK
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