Music Trade Review

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THE MUSICTRHDE REVIEW
wbefe we think we have them under control, , also the "Chanson d'Ancetre," by the same
but this is,, indeed, pot,the case—it is simply composer, was sung by Delmas. On the
Place ;des Vosges, opposite the house for-
that they aYe dead.; „'/;'
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merly
Inhabited by, Victor Hugo, a Chant
A
Z\
LEST WE FORGET.; '
a
Apotheose
was sung. This was written
.It:"is just', four years since America lost
for
the
occasion
by Gustave Charpentier.
Anton Seidl, who was removed suddenly
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from life March ^8, 1898. To those who
FRANK D A M R O S C H ' S GOOD WORK.
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were able to appreciate the man's greatness
The month just passed has been one nota-
his loss to the musical world is just as keen- ble for several great performances, among
ly felt to-day as, it was the day he died, and which was the last Oratorio concert of the
be it understood there is no one whose name season. The decision of Frank Damrosch
is oftener on the lips of- the musical people to give Schumann's great lyric cantata, Para-
than
that of Anton Seidl, for whom loving dise and the Peri, was well in keeping with
I T is not until one sits clown to write'of
though)^
live and will live while the present the efforts of this very ambitous man to do
*• things musical that one realizes
geiieration
has memory.
the most instructive thing in his power. The
wane of the musical season, and one is face
entire life and career of Frank Damrosch
The
future
generation
should
know
and
to face with the fact that there is nothing
seem to be devoted to giving music in the
should
be
taught
that
his
energies,
his
devo-
new to be said.
light in which it will do the most good.
tion,
his
genius,
have
given
him
that
which
This leads us to be retrospective of the
This has been demonstrated by the sort of
season, and in this retrospection we can not can never be eradicated, although it is need-
work that he is identified with in every in-
less
to
state
and
to
reiterate
that
his
ideals,
fail to note the very remarkable percentage
stance, notably as director of the Musical Art
his
hopes
and
his
intentions
never
were
real-
of exceptionally fine attractions which have
Society, of the Choral Union, of the Young
ized.
How
could
they
be?
they
were
so
made this season the brilliant success that
People's Symphony Orchestra, and of the
great—so
mighty.
And
we
who
may
look
it has been. It is not possible to watch the
Oratorio Society. The choruses of the Para-
back
can
see
the
vast
strides
which
the
un-
development of music year after year with-
dise and the Peri were in splendid condi-
out seeing the vast improvement in audiences tiring efforts of that great man accomplished.
tion, and the solos were sung by Mme. Gad-
Would
that
he
might
have
known,
as
we
attending and in the attractions themselves.
ski, Mrs. Hissem De Moss, Mrs. Gertrude
The operatic venture was the most successful know, the value of his work; would that he
May Stein, Ellison Van Hoose and Joseph
might
know
the
appreciation,
the
loving
re-
that Grau has reported in years, as was the
S.
Baernstein. It was an interesting revival of
Boston Symphony and the Kneisel Quartet membrance, the unceasing regret in which he
a
beautiful
work which had not been heard
seasons. The crowded houses show this no is held by all those to whom music means
in
New
York
since 1876, when Dr. Dam-
less than the discreet and intelligent ap- something noble and something near what
rosch presented it at a concert of the Ora-
Seidl felt it to mean.
plause. Not only in these "holy of holies' is Anton
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torio Society. "Paradise and the Peri" was
this discernible, but from the Sunday night
VICTOR HUGO MEMORIALS.
composed in 1843, and had its first perform-
concerts to the concerts given in every class
Safe in the knowledge that Victor Hugo
ance on December 4 of that year in Leipsic.
there is a marked improvement in the way is out of the range of revenging himself,
It at once won great popularity in Germany.
applause is accorded, and there is nothing so Paris has been paying tributes of all kinds to
The first performance in New York was by
indicative of the intellectual status of an au- that greatest of French literary stars, in-
the Musical Institute, under the direction of
dience as the manner in which it extends its cluding musical programs in honor of his
H. H. Timm, on April 11, 1848. Eight years
applause. New York has been tortured with memory. That Hugo was no musician, and
later "Paradise and the Peri" was heard in
fewer mediocrities this year, and the time is moreover positively disliked music, has no
London. Then it was performed at the com-
not far distant when the mediocrat must go bearing in the case, neither did it prevent
mand of Queen Victoria by the Philharmonic
entirely. He has our sympathy, for his name Saint Saens, Berlioz and many others from
Society, under the direction of Sterndale
is legion and disappointments are bitter, but writing in his honor.
Bennett. Jenny Lind sang the soprano solos.
music will never achieve its original aim and
It would have seemed perfectly in place
Mr. Damrosch has every reason to be proud
for his memory to be honored in all dramatic
height until he is extinct.
of his achievements, and it is doubtful if any
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and literary circles, for his peer has not
The mediocrat is not, however, much more lived in those lines, yet all rushed to music one individual has as many great interests
detrimental to the scheme than is the over- for an outlet of enthusiasm and emotion. in hand in America. His season of Young
estimated hero who exists on false premises, The reason for this is not apparent. Victor People's Concerts closes wth a tremendous
under false colors, and who saps so much vi- Hugo has sounded the gamut of emotion as Wagnerian program given to-day in Brook-
tality and incidentally money that there is effectively in language as any one has ever lyn, and a concert of enormous dimensions
nothing left for those who by every right of done in music or in painting, and tributes to will be given by the Choral Union in April.
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art deserve the greatest and the best we have his memory should have been extended
ABOUT PROGRAM NOTES.
to offer.
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The exact value or charm of the program
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It is true that Shakespeare has been the in- notes has never been set forth so forcibly as
Neither are we the hysterical people that spiration to more musicians than any other it has this season through the matter fur-
some dailies would represent us. Some of great writer, but in memorial services to nished by Philip Hale of the Boston Jour-
us cry out with indignation as we see our- him would a musical program seem fitting nal in the program books of the Boston Sym-
selves quoted as sobbing and growing vio- even though Verdi's Otello be called into phony. The notes seem to touch the right
lent under the spell of a violin or a piano. requisition? It seems not, yet perhaps this spot, and to state just what the patrons of
Alas! we are not emotional enough to en- shows that music is becoming a necessity this great organization love to drop upon
joy in that delightful and altogether desira- everywhere. In Paris E. Colonne gave Saint during the few idle moments between num-
ble manner. In New York, where every feel- Saens' "Hymne a Victor Hugo." which had bers. Philip Hale has a great power in set-
ing as well as every show of feeling is its first presentation May 15th, 1884, at a ting forth ideas—he also has ideas. When
crushed; where emotion is regarded as a festival where the great poet lent his pres- they are agreeable they make very delightful
greater crime than politeness, where we dare ence. M. Daraux sang selections from reading—when they are agreeable.
not make the slightest move that would re- "Pas d'Armes du Roi Jean," and the Lyre
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ENGLISH FESTIVALS.
veal heart, soul, humanity—how could we and the Harp. Mme. Emile Bourgeois sang
The festival custom is being adopted in
become so wrought up by music? It is not "La Cloche" of Saint Saens, and "La Cap-
America
to a great extent, and of course it
possible; we must take our music with every tive" of Berlioz. Leo Delibes wrote some is well known
that England establishes the
conventionality that New York demands. At ballet music in "Le Roi s'amuse."
example. The Worcester festivals and the
first this is difficult, but not afterwards, for
At the Pantheon the conservatory or- Maine festivals have been successful enough
to arouse the desire on the part of other
it is no longer a matter of self control, our
chestras and the Garde Republicaine gave localities to give this a trial. But a trial is
emotions become dulled from continual re-
the "Hymne a V. Hugo," by Saint Saens, not always a definite proof, for the scheme
pression and suppression until they arrive
'jit
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