Music Trade Review
Issue: 1905 Vol. 40 N. 18 - Page 5
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
ELGAR'S INAUGURAL ADDRESSS
As Professor of Music at the Birmingham Uni-
versity—Comments by Richard Aldrich.
Sir Edward Elgar, who has recently been ap-
pointed Professor of Music at Birmingham Uni-
versity, gave an inaugural address there recently
that has considerably stirred up the musical
world in England. The peculiar position that
Sir Edward holds in the art of his native land,
and the impulse he is considered by many to have
given toward extricating that art from the ruts
of dulness and academic coldness, account for
the special significance attributed to his remarks.
English composers have too often written, he
said, not to please the public but for the benefit
of their fellow-musicians, to win approval from
the knowing for their learning and accomplish-
ments. "They write coldly and correctly. No
painter commits the mistake of working for other
painters, no dramatist writes plays for other
playwrights.
Musicians should similarly ad-
dress themselves to a wider audience."
But is this true in respect of a great amount
of the greatest music? Have not some of the
greatest creations of art been the work of those
who have had hardly any thought of their ever
being produced at all, and certainly created with-
out the smallest regard for the taste of the pub-
lic at large? Did Bach ever expect to hear his
B minor mass performed, especially in a Catholic
Church, to whose liturgical requirements it does
not strictly conform, and to whose practical re-
quirements of time and space it is still more a
stranger? Or did Beethoven think of the same
things in writing his D major mass, or of the
public in his later string quartets? Schubert
composed for no other cause that that he must,
and had plenty of reason to know that the pub-
lic of his time would have little of him or his
works. "I change nothing," was his curt reply
to some concert managers who were intending
to produce some of his music, and the reply
meant that the music was not produced, though
he had every reason to need recognition. Wag-
ner "piled up" the silent scores of "Der Ring des
Nibelungen" year after year, when he had not
the slightest hope of ever hearing them per-
formed, and no prospect of ever seeing such a
change in the public taste as should ever make
performances of them possible or profitable.
MUSIC TRADE REVIEW
cians. There is an ultimate public which every
creative artist presumably has in the background
of his consciousness, but it certainly is not com-
posed of his professional contemporaries.
TAKE HOME FORTUNES
Caruso and Sembrich Break All Records This
Season—A Merry Chapter of Accidents.
Caruso and Sembrich can afford to let the musi-
cal public think that the Germans make the
world go round. The twin stars of Italian opera
sailed from New York on Thursday of this week
with letters of credit for over $100,000 each.
Mme. Sembrich's earnings for the season were
even reported at an impossible $150,000. Her
concerts were outside of her opera contract and
were enormously profitable. No wonder she has
refused all engagements until she returns here
next November. Caruso, who goes to London
in company with Scotti and Van Rooy, enjoyed a
merry chapter of accidents at their sailing on the
Deutschland. Scotti left his steamship ticket at
his hotel and had to sail as a first cabin stow-
away. Van Rooy, after journeying 10,000 miles
in American railroad trains, bumped his knee
on a Broadway car and had to be carried aboard
ship. Mr. Conried himself prescribed a steamer
chair, in which department of aid to the injured
he is a noted connoisseur.
OREFICE'S NEW OPERA, "CHOPIN."'
Orefice's opera, "Chopin," which is founded on a
number of themes taken from the Polish com-
poser's work, and has proved a success in Italy,
was recently performed at Prague for the first
time in Germany, says the Evening Post. Now
one of the violinists of the Vienna Opera has
followed that Italian's example and written a
ballet entitled "Chopin's Dances," the music of
which is based on Chopin's melodies. The first
act plays in Warsaw, the second in Paris.
S
"However, it will soon be time for me to stop
singing. You know I have been at work for so
many years that I feel now that I want to be
home, in my own little home, with my book and
my dog."
VALUE OF GOOD LISTENERS.
The American Tendency to Get at the Inner
Meaning of Music Stimulating to Compos-
ers and Performers.
It has been often said that what is most needed
in the musical world to-day is not so much more
good composers and performers as good listeners.
In this respect women ace far ahead of men;
there are a hundred good listeners among them
to every man, especially in America. In a recent
article in a German newspaper Heinrich Zoellner
has something to say on this subject:
"With sincere joy I recall many an hour I
spent at the symphony concerts given in Carnegie
Hall during the time of my sojourn in New
York. To that place I also saw many a lady
wend her way with the vocal or orchestral score
under her arm. While the music was going on
they followed it carefully in the score. That is
a phenonemon I miss in Germany. The desire
of getting at the inner meaning of a composition
is something that 1 noted with pleasure in the
case of American women particularly. This de-
sire, given a certain amount of musical talent,
is usually gratified. And when I saw the cheeks
of many a beauty glow with excitement, and her
eyes become brighter with joy, I had to say to
myself: 'Now this young soul is conscious of
what the composer fancied in his reveries.' "
ALWAYS SOME "KNOCKERS."
Artists Who Fail to Succeed Have Poor Opinion
of America—Facts that Can't Be Overlooked.
Every now and again some report trails back
to this country from across the ocean that an
artist declares us an unmusical lot, but if such
NORDICA WILL SOON RETIRE.
an opinion is investigated the fact is usually
During her recent concert tour of the West disclosed that whoever has voiced the complaint
Mme. Nordica said: "I shall never appear in is one who has not met with tremendous finan-
concert work again, and my operatic career will cial or artistic success here. The record of the
be over within the next two or three years. I past musical season is sufficient to clear away
will play in New York City and some of the large any doubts about the attitude of the native pub-
lic in matters musical. It has been a huge
These men did not consciously write for any cities adjoining.
"I have been heard for many years through- musical season. Already the managers are pre-
immediate public, but also they did not write for
any other musicians. They wrote for themselves, out the country and I enjoy it. The singing is paring to scour the European market for attrac-
because they must. This is a very different thing not so wearing, however; it is the travel. This tions for the coming season. But the public is
from what Sir Edward Elgar had in mind, no has been a particularly arduous season. I have still basking in the recollections of the great
\
doubt, when he complained of the British musi- been singing all the heavy dramatic roles, too. season of music through which it has lived.
SCHNEEVOIGT SUCCEEDS WEINGARTNER.
THIS MEANS YOU!
T
•
HE MUSICIAN as a means of increasing your business has no equal.
It is a magazine devoted to the interests of the Teacher, the Stu-
dent and the Lover of Music.
Its circulation has doubled in a year and the increase still continues.
It is used by the best people, and is kept in the homes upon the Piano
or in the Music Rack.
It stimulates interest in music and in musical subjects.
Constant readers of the Musician buy Music and Music Books more
liberally than those who do not read it.
The reason is plain.
If you will push the Musician by showing it to your customers and ac-
custom them to look for it each month as issued, you will find that your busi-
ness will grow beyond your expectations.
Your sales will increase not only in the publications of our house, but
in the publications of all houses.
It is the best salesman we know.
All of our advertisements in it instruct the reader to order of the Home
Dealer.
THIS MEANS YOU !
OLIVER
15O TREMONT
DITSOINI
STREET,
COMPANY
BOSTON,
MASS.
Before Felix Weingartner came to New York
to conduct two sets of Philharmonic concerts he
gave up his position as conductor of the royal
orchestra in Berlin. On returning, he changed
his mind and retained that post. Now it is an-
nounced that he will no longer conduct the Kaim
concerts in that city and elsewhere. His succes-
sor is to be Georg Schneevoigt. It is hinted he is
casting his eyes Bostonwards.
FRED A. STOCK APPOINTED DIRECTOR.
Frederick A. Stock has been appointed director
of the Chicago Orchestra, to succeed the late
Theodore Thomas, the founder of the organiza-
tion. In order to perpetuate the name of Mr.
Thomas the name of the orchestra has been
changed from that of the Chicago Orchestra to
the Theodore Thomas Orchestra.
The National Conservatory of Music of Amer-
ica (founded by Mrs. Jeannette M. Thurber),
having outgrown its present premises, 128 East
17th street, New York City, moved May 1 to the
commodious building, 47 and 49 West 25th street.
With the additional facilities the usefulness of
the institution will be greatly increased. The
twenty-first scholastic year begins September 2.
The regular summer term commenced May 1, in
the new building.
THE
ELGAR'S INAUGURAL ADDRESSS
As Professor of Music at the Birmingham Uni-
versity—Comments by Richard Aldrich.
Sir Edward Elgar, who has recently been ap-
pointed Professor of Music at Birmingham Uni-
versity, gave an inaugural address there recently
that has considerably stirred up the musical
world in England. The peculiar position that
Sir Edward holds in the art of his native land,
and the impulse he is considered by many to have
given toward extricating that art from the ruts
of dulness and academic coldness, account for
the special significance attributed to his remarks.
English composers have too often written, he
said, not to please the public but for the benefit
of their fellow-musicians, to win approval from
the knowing for their learning and accomplish-
ments. "They write coldly and correctly. No
painter commits the mistake of working for other
painters, no dramatist writes plays for other
playwrights.
Musicians should similarly ad-
dress themselves to a wider audience."
But is this true in respect of a great amount
of the greatest music? Have not some of the
greatest creations of art been the work of those
who have had hardly any thought of their ever
being produced at all, and certainly created with-
out the smallest regard for the taste of the pub-
lic at large? Did Bach ever expect to hear his
B minor mass performed, especially in a Catholic
Church, to whose liturgical requirements it does
not strictly conform, and to whose practical re-
quirements of time and space it is still more a
stranger? Or did Beethoven think of the same
things in writing his D major mass, or of the
public in his later string quartets? Schubert
composed for no other cause that that he must,
and had plenty of reason to know that the pub-
lic of his time would have little of him or his
works. "I change nothing," was his curt reply
to some concert managers who were intending
to produce some of his music, and the reply
meant that the music was not produced, though
he had every reason to need recognition. Wag-
ner "piled up" the silent scores of "Der Ring des
Nibelungen" year after year, when he had not
the slightest hope of ever hearing them per-
formed, and no prospect of ever seeing such a
change in the public taste as should ever make
performances of them possible or profitable.
MUSIC TRADE REVIEW
cians. There is an ultimate public which every
creative artist presumably has in the background
of his consciousness, but it certainly is not com-
posed of his professional contemporaries.
TAKE HOME FORTUNES
Caruso and Sembrich Break All Records This
Season—A Merry Chapter of Accidents.
Caruso and Sembrich can afford to let the musi-
cal public think that the Germans make the
world go round. The twin stars of Italian opera
sailed from New York on Thursday of this week
with letters of credit for over $100,000 each.
Mme. Sembrich's earnings for the season were
even reported at an impossible $150,000. Her
concerts were outside of her opera contract and
were enormously profitable. No wonder she has
refused all engagements until she returns here
next November. Caruso, who goes to London
in company with Scotti and Van Rooy, enjoyed a
merry chapter of accidents at their sailing on the
Deutschland. Scotti left his steamship ticket at
his hotel and had to sail as a first cabin stow-
away. Van Rooy, after journeying 10,000 miles
in American railroad trains, bumped his knee
on a Broadway car and had to be carried aboard
ship. Mr. Conried himself prescribed a steamer
chair, in which department of aid to the injured
he is a noted connoisseur.
OREFICE'S NEW OPERA, "CHOPIN."'
Orefice's opera, "Chopin," which is founded on a
number of themes taken from the Polish com-
poser's work, and has proved a success in Italy,
was recently performed at Prague for the first
time in Germany, says the Evening Post. Now
one of the violinists of the Vienna Opera has
followed that Italian's example and written a
ballet entitled "Chopin's Dances," the music of
which is based on Chopin's melodies. The first
act plays in Warsaw, the second in Paris.
S
"However, it will soon be time for me to stop
singing. You know I have been at work for so
many years that I feel now that I want to be
home, in my own little home, with my book and
my dog."
VALUE OF GOOD LISTENERS.
The American Tendency to Get at the Inner
Meaning of Music Stimulating to Compos-
ers and Performers.
It has been often said that what is most needed
in the musical world to-day is not so much more
good composers and performers as good listeners.
In this respect women ace far ahead of men;
there are a hundred good listeners among them
to every man, especially in America. In a recent
article in a German newspaper Heinrich Zoellner
has something to say on this subject:
"With sincere joy I recall many an hour I
spent at the symphony concerts given in Carnegie
Hall during the time of my sojourn in New
York. To that place I also saw many a lady
wend her way with the vocal or orchestral score
under her arm. While the music was going on
they followed it carefully in the score. That is
a phenonemon I miss in Germany. The desire
of getting at the inner meaning of a composition
is something that 1 noted with pleasure in the
case of American women particularly. This de-
sire, given a certain amount of musical talent,
is usually gratified. And when I saw the cheeks
of many a beauty glow with excitement, and her
eyes become brighter with joy, I had to say to
myself: 'Now this young soul is conscious of
what the composer fancied in his reveries.' "
ALWAYS SOME "KNOCKERS."
Artists Who Fail to Succeed Have Poor Opinion
of America—Facts that Can't Be Overlooked.
Every now and again some report trails back
to this country from across the ocean that an
artist declares us an unmusical lot, but if such
NORDICA WILL SOON RETIRE.
an opinion is investigated the fact is usually
During her recent concert tour of the West disclosed that whoever has voiced the complaint
Mme. Nordica said: "I shall never appear in is one who has not met with tremendous finan-
concert work again, and my operatic career will cial or artistic success here. The record of the
be over within the next two or three years. I past musical season is sufficient to clear away
will play in New York City and some of the large any doubts about the attitude of the native pub-
lic in matters musical. It has been a huge
These men did not consciously write for any cities adjoining.
"I have been heard for many years through- musical season. Already the managers are pre-
immediate public, but also they did not write for
any other musicians. They wrote for themselves, out the country and I enjoy it. The singing is paring to scour the European market for attrac-
because they must. This is a very different thing not so wearing, however; it is the travel. This tions for the coming season. But the public is
from what Sir Edward Elgar had in mind, no has been a particularly arduous season. I have still basking in the recollections of the great
\
doubt, when he complained of the British musi- been singing all the heavy dramatic roles, too. season of music through which it has lived.
SCHNEEVOIGT SUCCEEDS WEINGARTNER.
THIS MEANS YOU!
T
•
HE MUSICIAN as a means of increasing your business has no equal.
It is a magazine devoted to the interests of the Teacher, the Stu-
dent and the Lover of Music.
Its circulation has doubled in a year and the increase still continues.
It is used by the best people, and is kept in the homes upon the Piano
or in the Music Rack.
It stimulates interest in music and in musical subjects.
Constant readers of the Musician buy Music and Music Books more
liberally than those who do not read it.
The reason is plain.
If you will push the Musician by showing it to your customers and ac-
custom them to look for it each month as issued, you will find that your busi-
ness will grow beyond your expectations.
Your sales will increase not only in the publications of our house, but
in the publications of all houses.
It is the best salesman we know.
All of our advertisements in it instruct the reader to order of the Home
Dealer.
THIS MEANS YOU !
OLIVER
15O TREMONT
DITSOINI
STREET,
COMPANY
BOSTON,
MASS.
Before Felix Weingartner came to New York
to conduct two sets of Philharmonic concerts he
gave up his position as conductor of the royal
orchestra in Berlin. On returning, he changed
his mind and retained that post. Now it is an-
nounced that he will no longer conduct the Kaim
concerts in that city and elsewhere. His succes-
sor is to be Georg Schneevoigt. It is hinted he is
casting his eyes Bostonwards.
FRED A. STOCK APPOINTED DIRECTOR.
Frederick A. Stock has been appointed director
of the Chicago Orchestra, to succeed the late
Theodore Thomas, the founder of the organiza-
tion. In order to perpetuate the name of Mr.
Thomas the name of the orchestra has been
changed from that of the Chicago Orchestra to
the Theodore Thomas Orchestra.
The National Conservatory of Music of Amer-
ica (founded by Mrs. Jeannette M. Thurber),
having outgrown its present premises, 128 East
17th street, New York City, moved May 1 to the
commodious building, 47 and 49 West 25th street.
With the additional facilities the usefulness of
the institution will be greatly increased. The
twenty-first scholastic year begins September 2.
The regular summer term commenced May 1, in
the new building.
Future scanning projects are planned by the International Arcade Museum Library (IAML).