Music Trade Review
Issue: 1904 Vol. 38 N. 14 - Page 9
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THE
SINQERS FOR NEXT SEASON.
The Same "Old Crowd" to a Large Extent—They
Include the Best in the World, That Is Why
New Yorkers Like Them.
The names of many of the members of the
company which Heinrich Conried is to have
next year at the Metropolitan Opera House
have not yet been announced, and it is not
probable that he knows yet exactly what the
personnel of the troupe will be. Before they
departed for Europe, Enrico Caruso was re-
engaged for several years, and so was Arturo
Vigna, the Italian conductor.
Mme. Sembrich is again to have the lead-
ing colorature roles, and, in view of the fact
that her popularity here is now greater than
it ever was, her re-engagement was a fore-
gone conclusion. She will sing fifty times,
ten every month.
Giuseppe Campanari is not to be with the
company, but goes on a long concert tour.
Antonio Scotti, Marcel Journet and Andreas
Dippel, who carried on his versatile shoul-
ders so much of the work of last season, are
among those who will come back. Mme.
Ternina has said that she will not return, but
will devote next year to filling German en-
gagements of long standing. But prima
donnas have been known to indicate this re-
luctance before.
In spite of her present differences with the
management, it is probable that Mme. Gad-
ski will remain in the company. She is too
useful an artist, too versatile and too satis-
factory in all she accomplishes not to be in-
cluded in it. Her substitute could not be
found in Europe.
It is, of course, probable that he will again
have the same "old crowd," notwithstanding
the constant inquiry why Mr. Conried doesn't
get a lot of new singers. New York audi-
ences have grown to like them. It is not be-
cause they are old acquaintances nor because
they are associated with the traditions of the
Metropolitan. It is merely because they are
the greatest singers in the world, and any
other city that could afford it would also love
to have the privilege of calling the "crowd"
its own.
RECENT MUSICAL PUBLICATIONS.
Among recent collections of music one of
the most important undoubtedly is that en-
titled "Folk Songs and Other Songs for Chil-
dren," published by the Oliver Ditson Co.
Adults as well as children will find the volume
remarkably attractive, for it is the most com-
prehensive work of its kind on the market,
and contains under their respective headings
the best known songs of every nationality,
besides separate sections devoted to lullabies,
carols, patriotic songs and rounds. The ar-
rangements are musicianly, the editing care-
fully done and the book is attractive in ap-
pearance and convenient in size and typog-
raphy.
"Sacred Music for Men's Voices," Vol. 2,
edited by Albert J. Holden, has also been pub-
lished by Oliver Ditson Co. This collection
is sure to prove a worthy companion to Vol.
1 for Masonic and church use. For Masonic
use the various numbers have been classified
as follows: "Odes for Opening or Closing,"
"First Degree," "Second Degree," "Third
Degree" and "Funeral Selections."
"A Prayer for Faith" is the title of a new
sacred song by J. C. Bartlett, the composer
of the now famous "Dream," which is sure
to become a favorite.
MUSIC TRADE
REVIEW
PITTSBURQ CHOOSES PAUR.
Vienna
Conductor Accepts and Will
Orchestra for Three Years.
MRS. NEWMARCH'S VIEWS
Direct
Emil Paur, of Vienna, was on Saturday
chosen as conductor of the Pittsburg Orches-
tra concerts for the three seasons—io,O4-'o7—
by the unanimous vote of the Orchestra Com-
mittee of the Art Society. Mr. Paur has ac-
cepted the position by cable. George H. Wil-
son, the manager, commenting on Mr. Paur's
selection said:
"There were thirty applicants for the posi-
tion, but Mr. Paur was not one of them. The
committee made him an offer, which he ac-
cepted by cable. It will cost a great deal
EMIL PAUER.
of money to bring Mr. Paur over here for
three years, but no move was made until the
guarantee fund was all raised."
Victor Herbert, the retiring conductor, said
that he was glad Mr. Paur had accepted the
position, and that he could now go to New
York to work on a number of projects he has
had in view for some time.
Emil Pauer has wielded his baton over
almost every one of the great European or-
chestras. He first came to this country in
the early '90's and accepted the leadership of
the Boston Symphony Orchestra which he
held for five years, achieving a distinct suc-
cess.
At the close of his long Boston engage-
ment Paur came to New York, succeeding the
late Anton Seidl as conductor of the Philhar-
monic Orchestra. In the spring of 1902 the
Philharmonic baton was transferred u the
hand of Walter Damrosch, and Mr. Paur
made a tour of the country with an orchestra
of his own. selection.
WALTER DAMROSCH'S PLANS.
9
On Henry J. Wood, the Great English Conductor
—Discusses National Opera in Russia.
John Lane, the well-known publisher, of
New York and London, is now issuing an il-
lustrated series of monographs under the
title "Living Masters of Music," which deal
with contemporary musical life, including all
branches of the art, which are edited by Rosa
Newmarch. The first volume of the series,
just issued, is devoted to Henry J. Wood, the
great conductor, of London, and who won
such favorable notices from leading critics,
during his recent visit to conduct one of the
Philharmonic concerts. It is admirably writ-
ten by Rosa Newmarch, and gives the reader
a careful and comprehensive idea of the life
and accomplishments of this clever musician.
The volume is attractively bound and of con-
venient size to take to concert room if de-
sired. Other volumes of the series in
preparation are Richard Strauss, by A. Kal-
isch; Edward Elgar, Muc. Doc. Camb, by R.
J. Buckley, and Antonin Dvorak.
Speaking of Mrs. Newmarch brings to
mind her recent lecture on "National Opera
in Russia," in which she brought out the odd
fact that both of Russia's greatest composers
—Rubinstein and Tchaikovsky—have been
weakest in their operas. She declared that
interesting as are Tchaikovsky's operas, she
did not think they had the vitality of his sym-
phonic works. His nature was too emotional
and self-centered for broad, dramatic uses.
But the orchestral works bore the strong im-
press of his own intense personality. These
held the cry of all baffled and disenchanted
spirits, and would live so long as there were
natures made for suffering in the world.
Tchaikovsky's operatic development, Mrs.
Newmarch summed up as follows: Begin-
ning with conventional Italian forms in "The
Oprichnik" (1872), he passed in "Chere-
vichek" (Less Caprices d'Oxane, 1872), to
more modern methods, making use of melo-
dic recitative and arioso. "Eugene Oniegin"
(1879) shows a combination of both these
styles. This first operatic period was purely
lyrical. Afterwards, in "The Maid of Or-
leans (1879), "M'azeppa" (1883), a n ^
"Charodeika" or "The Enchantress" (1887),
he'passed through a period of dramatic ten-
dency. With "Pique Dame" (1889) he
reached the zenith of his operatic develop-
ment ; but this is the solitary example of a
style which may be characterized as lyrico-
dramatic. In his last opera, "Iolanthe"
(1893), he showed a disposition to return to
simple lyrical forms.
The plan of the spring tour of Walter Dam-
rosch and the New York Symphony Orches-
tra contemplates a visit of the leader, his or-
ganization and fifteen leading soloists to St.
Louis for one Wagner-Parstfal-Damrosch
BERLIN AS A MUSICAL CENTER.
concert at the Odeon on the afternoon of Sun-
day, April 10. This will afford lovers of
Berlin is frequently afflicted with as many
music of the highest class the only oppor- as forty, fifty or even more concerts in one
tunity to hear the principal music of the week. There are three concert bureaus in the
music-drama, Parsifal, which has created an city. One of these has on its books 490
unprecedented stir in the music world. Mr. musicians, including 103 pianists, 86 violin-
Damrosch, in addition to playing all the im- ists, 85 sopranos, 16 altos, 53 tenors, 66 bari-
portant parts of the score and having the tones and basses, etc. Eighteen employes are
solos sung by artists of recognized ability, will needed to take care of all these "artists."
precede his programme with a lecture on Par-
sifal. This will thoroughly familiarize the
Richard Strauss is said to have received an
audience with the music and the story of offer of $9,000 from a Berlin publisher for
Wagner's latest and greatest work. The or- his latest orchestra work, the "Sinfonia Do-
chestra numbers seventy men, and is admir- mestica," which was produced in this city for
ably trained in every way.
the first time last week.
THE
SINQERS FOR NEXT SEASON.
The Same "Old Crowd" to a Large Extent—They
Include the Best in the World, That Is Why
New Yorkers Like Them.
The names of many of the members of the
company which Heinrich Conried is to have
next year at the Metropolitan Opera House
have not yet been announced, and it is not
probable that he knows yet exactly what the
personnel of the troupe will be. Before they
departed for Europe, Enrico Caruso was re-
engaged for several years, and so was Arturo
Vigna, the Italian conductor.
Mme. Sembrich is again to have the lead-
ing colorature roles, and, in view of the fact
that her popularity here is now greater than
it ever was, her re-engagement was a fore-
gone conclusion. She will sing fifty times,
ten every month.
Giuseppe Campanari is not to be with the
company, but goes on a long concert tour.
Antonio Scotti, Marcel Journet and Andreas
Dippel, who carried on his versatile shoul-
ders so much of the work of last season, are
among those who will come back. Mme.
Ternina has said that she will not return, but
will devote next year to filling German en-
gagements of long standing. But prima
donnas have been known to indicate this re-
luctance before.
In spite of her present differences with the
management, it is probable that Mme. Gad-
ski will remain in the company. She is too
useful an artist, too versatile and too satis-
factory in all she accomplishes not to be in-
cluded in it. Her substitute could not be
found in Europe.
It is, of course, probable that he will again
have the same "old crowd," notwithstanding
the constant inquiry why Mr. Conried doesn't
get a lot of new singers. New York audi-
ences have grown to like them. It is not be-
cause they are old acquaintances nor because
they are associated with the traditions of the
Metropolitan. It is merely because they are
the greatest singers in the world, and any
other city that could afford it would also love
to have the privilege of calling the "crowd"
its own.
RECENT MUSICAL PUBLICATIONS.
Among recent collections of music one of
the most important undoubtedly is that en-
titled "Folk Songs and Other Songs for Chil-
dren," published by the Oliver Ditson Co.
Adults as well as children will find the volume
remarkably attractive, for it is the most com-
prehensive work of its kind on the market,
and contains under their respective headings
the best known songs of every nationality,
besides separate sections devoted to lullabies,
carols, patriotic songs and rounds. The ar-
rangements are musicianly, the editing care-
fully done and the book is attractive in ap-
pearance and convenient in size and typog-
raphy.
"Sacred Music for Men's Voices," Vol. 2,
edited by Albert J. Holden, has also been pub-
lished by Oliver Ditson Co. This collection
is sure to prove a worthy companion to Vol.
1 for Masonic and church use. For Masonic
use the various numbers have been classified
as follows: "Odes for Opening or Closing,"
"First Degree," "Second Degree," "Third
Degree" and "Funeral Selections."
"A Prayer for Faith" is the title of a new
sacred song by J. C. Bartlett, the composer
of the now famous "Dream," which is sure
to become a favorite.
MUSIC TRADE
REVIEW
PITTSBURQ CHOOSES PAUR.
Vienna
Conductor Accepts and Will
Orchestra for Three Years.
MRS. NEWMARCH'S VIEWS
Direct
Emil Paur, of Vienna, was on Saturday
chosen as conductor of the Pittsburg Orches-
tra concerts for the three seasons—io,O4-'o7—
by the unanimous vote of the Orchestra Com-
mittee of the Art Society. Mr. Paur has ac-
cepted the position by cable. George H. Wil-
son, the manager, commenting on Mr. Paur's
selection said:
"There were thirty applicants for the posi-
tion, but Mr. Paur was not one of them. The
committee made him an offer, which he ac-
cepted by cable. It will cost a great deal
EMIL PAUER.
of money to bring Mr. Paur over here for
three years, but no move was made until the
guarantee fund was all raised."
Victor Herbert, the retiring conductor, said
that he was glad Mr. Paur had accepted the
position, and that he could now go to New
York to work on a number of projects he has
had in view for some time.
Emil Pauer has wielded his baton over
almost every one of the great European or-
chestras. He first came to this country in
the early '90's and accepted the leadership of
the Boston Symphony Orchestra which he
held for five years, achieving a distinct suc-
cess.
At the close of his long Boston engage-
ment Paur came to New York, succeeding the
late Anton Seidl as conductor of the Philhar-
monic Orchestra. In the spring of 1902 the
Philharmonic baton was transferred u the
hand of Walter Damrosch, and Mr. Paur
made a tour of the country with an orchestra
of his own. selection.
WALTER DAMROSCH'S PLANS.
9
On Henry J. Wood, the Great English Conductor
—Discusses National Opera in Russia.
John Lane, the well-known publisher, of
New York and London, is now issuing an il-
lustrated series of monographs under the
title "Living Masters of Music," which deal
with contemporary musical life, including all
branches of the art, which are edited by Rosa
Newmarch. The first volume of the series,
just issued, is devoted to Henry J. Wood, the
great conductor, of London, and who won
such favorable notices from leading critics,
during his recent visit to conduct one of the
Philharmonic concerts. It is admirably writ-
ten by Rosa Newmarch, and gives the reader
a careful and comprehensive idea of the life
and accomplishments of this clever musician.
The volume is attractively bound and of con-
venient size to take to concert room if de-
sired. Other volumes of the series in
preparation are Richard Strauss, by A. Kal-
isch; Edward Elgar, Muc. Doc. Camb, by R.
J. Buckley, and Antonin Dvorak.
Speaking of Mrs. Newmarch brings to
mind her recent lecture on "National Opera
in Russia," in which she brought out the odd
fact that both of Russia's greatest composers
—Rubinstein and Tchaikovsky—have been
weakest in their operas. She declared that
interesting as are Tchaikovsky's operas, she
did not think they had the vitality of his sym-
phonic works. His nature was too emotional
and self-centered for broad, dramatic uses.
But the orchestral works bore the strong im-
press of his own intense personality. These
held the cry of all baffled and disenchanted
spirits, and would live so long as there were
natures made for suffering in the world.
Tchaikovsky's operatic development, Mrs.
Newmarch summed up as follows: Begin-
ning with conventional Italian forms in "The
Oprichnik" (1872), he passed in "Chere-
vichek" (Less Caprices d'Oxane, 1872), to
more modern methods, making use of melo-
dic recitative and arioso. "Eugene Oniegin"
(1879) shows a combination of both these
styles. This first operatic period was purely
lyrical. Afterwards, in "The Maid of Or-
leans (1879), "M'azeppa" (1883), a n ^
"Charodeika" or "The Enchantress" (1887),
he'passed through a period of dramatic ten-
dency. With "Pique Dame" (1889) he
reached the zenith of his operatic develop-
ment ; but this is the solitary example of a
style which may be characterized as lyrico-
dramatic. In his last opera, "Iolanthe"
(1893), he showed a disposition to return to
simple lyrical forms.
The plan of the spring tour of Walter Dam-
rosch and the New York Symphony Orches-
tra contemplates a visit of the leader, his or-
ganization and fifteen leading soloists to St.
Louis for one Wagner-Parstfal-Damrosch
BERLIN AS A MUSICAL CENTER.
concert at the Odeon on the afternoon of Sun-
day, April 10. This will afford lovers of
Berlin is frequently afflicted with as many
music of the highest class the only oppor- as forty, fifty or even more concerts in one
tunity to hear the principal music of the week. There are three concert bureaus in the
music-drama, Parsifal, which has created an city. One of these has on its books 490
unprecedented stir in the music world. Mr. musicians, including 103 pianists, 86 violin-
Damrosch, in addition to playing all the im- ists, 85 sopranos, 16 altos, 53 tenors, 66 bari-
portant parts of the score and having the tones and basses, etc. Eighteen employes are
solos sung by artists of recognized ability, will needed to take care of all these "artists."
precede his programme with a lecture on Par-
sifal. This will thoroughly familiarize the
Richard Strauss is said to have received an
audience with the music and the story of offer of $9,000 from a Berlin publisher for
Wagner's latest and greatest work. The or- his latest orchestra work, the "Sinfonia Do-
chestra numbers seventy men, and is admir- mestica," which was produced in this city for
ably trained in every way.
the first time last week.
Future scanning projects are planned by the International Arcade Museum Library (IAML).