Music Trade Review

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THE MUSIC TRADE REVIEW
MASCAGNl'S NEW OPERA.
TIMELY TALKS ON TIMELY TOPICS.
This is the season of the year for retrospection,
and those interested in the musical life of this
country invariably turn to the subject of the
advance not only of art in America, but more par-
ticularly of American art. The musical life of
this season has been one of the greatest bril-
liancy, and on scanning the matter quickly it
would seem as though everything so far has
come under the head of superlative merit. It
has been noted by many that the American has
been almost entirely absent from both concert
platform and as composer. This is not quite the
case but his appearances on either programme
or platform have been limited. It is due all
tuose interested to say that the influences which
make for the greatest advancement in the mu-
sical condition of America were never so strong
as at the present time. We are pleased to call
the New York Symphony Society under its di-
rector, Walter Damrosch, a purely American in-
stitution and to regard Mr. Damrosch as a type
of musician, of which no country need be
ashamed. There has been no loud proclamation
of America for Americans, or anything of that
sort, but the fact remains that many of the men
composing the orchestra are natives of this
country and this orchestra gives them the
opportunity to make positions for them-
selves as well as to create a representa-
tive organization whose aim is the highest
in a r t under a conductor who by every
reason must be regarded as an American. Per-
haps it is among the future plans of this organ-
ization to present some of the great works of
the American composer. It is very certain that
none of the composers need hesitate about allow-
ing their compositions upon these programmes
since they are presented extremely well and the
following is one of the best in the city.
4
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The visiting conductors of the Philharmonic
Society have proven another influence for the
benefit of the American student, as well as com-
poser, as there is no schooling of such value as
that derived from the privilege of comparison
and this has been a rare opportunity for hearing
men of different nationalities as well as of dif-
ferent schools. Nor have these conductors been
lost to the fact that there was much of musical
interest in this country for them, and taking
Colonne as example I am able to say that he fol-
lows the careers of American musicians and com-
posers with the greatest interest. An interesting
little occurrence which took place at the close of
his last concert in this city will prove that this
interest is not without fruits.
When Henry Holden Huss, one of the foremost
of American composers, came into the green
room where M. Colonne was holding an im-
promptu reception the great French conductor
extended his hand and in the most genial
charming manner exclaimed "Ah, my dear Mr.
Huss, it is a coincidence indeed that I have the
opportunity to tell you that to-morrow at two
o'clock your concerto is to be played by Pugno at
my concert. I had the pleasure of rehearsing
the work and I regret that it was not my privi-
lege to present it, but be assured that in the
hands of Pierno it is perfectly safe." Later M.
Colonne expressed the desire to Mr. Huss to see
the orchestral works which he had in condition
for public presentation, and throughout M. Co-
lonne was most enthusiastic about works of Mr.
Huss and of other American composers. That
this is the sort of thing which will benefit the
American composer no one will doubt, for Amer-
ica always gets the reflex action from Europe.
Last year Henry J. Wood was similarly inter-
ested and there is no doubt that he was inter-
ested to the point of presenting the right Amer-
ican works in London, if the matter were prop-
erly presented to him. Thus it, will be seen that
the next five years should take the American
out of his own country into places of importance
on the other side. After this it will be a repeti-
tion of the successes of such Americans as Nor-
dica, Eames, Bispham, Fremstad, Edith Walker
and other American artists who have been ac-
cepted by Europe first, after which America was
satisfied to take verdict from the older criterion.
* * * *
Perhaps the most powerful influence that is
working at the present time is the establish-
ment of the school of opera in conjunction with
the Metropolitan opera company. So far-reaching
will this influence prove that it should improve
the quality of music study, especially vocal mu-
sic, in this country, and it is very certain that
the slack teaching and still more careless study,
based upon the idea that there is no outlet for
vocal students anyway, must become a thing of
the past. If one might designate one thing as
responsible for carelessness in study in this
country it would probably be the incentive to
study. There is no incentive and that is what
all teachers and all pupils need. Just why they
should settle down to a hopeless view of the
matter, it is not necessary at this moment to in-
dicate, but the fact remains that they do and in
so doing -Miey put themselves into a frame of
mind which prevents the best results that could
be obtained through hard study. To return, how-
ever, to the Metropolitan School of Opera. It is
not possible to buy an entrance, but as tuition
is free it will take a good deal more than a smat-
tering of vocal music and a narrow-minded view
of the study of music to gain an entrance. Even
a fine voice alone wili mean .nothing, because of
these there are more than anyone dreams of, but
musicianship is demanded, the languages are a
necessity and seriousness of purpose and general
intelligence are first and foremost absolute re-
quisites. The thorough foundation required by
the Metropolitan School of Opera is the one axle
upon which the vocal music of this country will
revolve, when it will be thoroughly understood
throughout the country that superficial study is
worse than useless. It is well understood that
ninety-nine out of every hundred who study
vocal music have definite or indefinite thoughts
concerning the operatic stage. It glimmers in
the distance, even though it is surrounded by
that sense of hopelessness to which I referred
above. The school of opera, under the Metro-
politan Company's auspices, offers a definite pos-
sibility, not only for an outlet but for proper
study. The vocal teachers of this country are
therefore confronted with the necessity of bring-
ing pupils to the point where they stand some
chance of being accepted after passing the ex-
amination, which, as heretofore, stated, includes
not only a beautiful voice well trained, but a
musical education and the English, French, Ger-
man and Italian languages, which must be in a
fluent condition, all of them.
* * * *
A well-known critic exclaimed "Oh, we have
orchestras to burn." "No/' answered some one
who knew the ropes, "only to roast." But it. is
a fact that the orchestras develop in this city
like mushrooms. Just what part they play in
the musical life of this great center cannot be
definitely calculated, but it is certain that an
immense amount of money is consumed in this
manner. When there is no raison d'etre for or-
chestras they seem rather expensive luxuries as
the Boston Symphony, the Philharmonic, the
New York Symphony, the People's Symphony,
the Young People's Symphony, the Russian Sym-
phony, and the Franko American Symphony fill
every available notch in their special fields. But
New York is a good field and everything must
be regarded as putting money into circulation no
matter who makes the losses.
EMILIE FKANCKS BAUER.
INCORPORATED TO PRODUCE OPERA.
The Jefferson De Angelis Opera Co., of New-
York, was incorporated at Albany, this week
with a capital stock of $25,000. Incorporators
are:
S. S. Shubert, Lee Shubert and Jefferson
De Angelis.
"Arnica"
Expected to Rival the Success of
"Cavalleria Rusticana."
Mascagni, the composer, has signed contracts
for the rights to the two operas "Arnica" and
"Vestilia" to a French manager. The .composer
will receive 55 and 66 per cent., respectively, of
the profits when the operas are produced abroad,
and 75 per cent, for both when they are produced
in Italy. These are more advantageous terms
than even Verdi or Wagner ever received.
Riccardi does not hesitate to say that "Arnica"
will achieve the same triumph as "Cavalleria
Rusticana," as it has the same melodic qualities
and dramatic intensity of passion with the added
maturity of more modern music.
The French manager was so overwhelmed and
struck by the score of "Vestilia" that he signed
a contract for it without hearing a note. The
contract provides that "Vestilia" shall be all
ready in three years. Mascagni expects to finish
the work much sooner, as he has been working
on it for years.
TO THE
MUSIC
We take this occasion to thank you for
your continued and substantial interest in
THE MUSICIAN.
There has been good profit in this, but
what is more to the point, subscribers
have had their interest in music stimu-
lated, and, consequently, will buy more
Music than they otherwise would. This
increased business will come to you.
Please note that all of our advertise-
ments in the magazines and in THE
MUSICIAN, as well as all our cata-
logues, instruct the reader to order of his
HOME DEALER. THIS MEANS
YOU.
Kindly co-operate with us to this end.
Piano Dealers are invited to correspond
with us about THE MUSICIAN as a
Premium on their sales.
It works well.
We wish you all the compliments of the
Season and abundant prosperity.
Yours truly,
OLIVER DITSON COMPANY, Boston
C. H. DITSON & CO., New York
J. E. DITSON & CO., Philadelphia