Music Trade Review
Issue: 1905 Vol. 40 N. 9 - Page 3
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REVIEW
THE
fflJJIC TIRADE
VOL. XL. No. 9.
Published Every Saturday by Edward Lyman Bill at 1 Madison Ave., New York, March 4, 1905.
SOUSA IN LONDON.
A
Paper in That City Afraid People May
Think He is a Real Force in Contemporary
Music—Issues Words of Caution.
The Londoners take Mr. Sousa very seriously
indeed. The "World of that city actually feels
impelled to protest against "the untenable claims
on behalf of Mr. Sousa put forward by injudicious
admirers who would have us believe that even
the greatest living conductors have something to
learn from him, and that he is a real force in
contemporary music. It is barely possible," the
writer continues, "that the Sousa concerts may
do good by proving to people who are afraid of
music that a concert may be quite lively, and so
insensibly lead them on stepping-stones to higher
things; but that is very problematical. It is
much better to be frank and say that the Sousa
concerts are admirable and unique of their kind,
and that the kind is not far removed from the
music hall. It is not necessary to introduce into
the matter any invidious considerations of
'higher' and 'lower'—and, indeed, they would be
quite out of place. It is certain that to hear Mr.
Sousa conduct one of his own marches is an in-
dispensable part of a complete musical education.
There isl nothing quite like it; the nearest ap-
proach was a Strauss waltz conducted by Strauss.
In both we have the incarnation of rhythm. That
is the chief greatness of Sousa, and almost sums
him up; but there are other things; and in an-
other aspect of his talent he may be called the
De Pachmann of the orchestra. His gestures
stand in the same relationship to his music as
the facial expression of M. de Pachmann to his
playing. They are wholly external to it, and
yet an inseparable part of it. * * * To sum
up, Sousa is an admirable tonic, and need do no
harm to the most highly developed musical sen-
sibility. Only we must not imagine that there is
more in him than there really is."
HAYDN'S HOUSE IN VIENNA.
Town
Council Buys Historic Dwelling—Mu-
seum of Two Rooms.
Readers will remember that the house in
which Joseph Haydn composed his "Seasons"
and "Creation," and in which he afterward died,
was in danger of being demolished and replaced
by a new building. The Vienna Town Council
has, however, recognized that it is its duty to
buy this historic house, and to preserve it for all
time. The museum, which has been established
there for some time, and which is visited by
many Englishmen and Americans passing
through Vienna, will, of course, remain perma-
nently in the old building.
The Haydn Museum consists only of two small
rooms on the first floor, once inhabited by the
great composer, and a narrow, dark attic, lit by
one very small window. Here he took refuge
when his wife had her petulant days and filled
the whole house with her loud voice, and here
Haydn wrote some of his maturest works. The
small stove which he had placed there is still to
be seen. In the two rooms on the first floor there
are many relics and articles recalling Haydn
SINQLE COPIES, 10 CENTS.
J2.00 PER YEAR.
formances there was a heavy average loss. In
other words, but for Caruso and the gala, the
total takings of the reason, assuming the receipts
of the ten performances in question to have aver-
aged the same as those of the other "off" nights,
would have been reduced to such a sum as would
have left nothing whatever forthcoming in the
PADEREWSKI ON STUDY.
way of either rent or profit. As it was, thanks
to the profitable houses which Caruso and the
Chopin and Bach Should be Constantly Studied
gala attracted, the actual loss realized on the
—Some Hints on Interpretation.
season as a whole was something less than four
"Chopin and Bach should be studied every figures. "On the whole, therefore, one is forced,"
day," said Ignace Paderewski recently. "Strange says the London Truth, "reluctantly to agree that
as it may appear, I consider Bach and Chopin the feasibility of cheap opera in London has not
kindred spirits. Chopin, although upon superfi- been demonstrated by the recent season at Covent
cial examination, his compositions seem anti- Garden. In spite of an excellent company, spir-
thetical to Bach, was more influenced by the ited management, and enthusiastic press notices,
great Johann Sebastian than by any other com- expenses hopelessly outran receipts, and the sea-
poser. Of course Beethoven, Bach, and Chopin son ended with a balance to the bad.. Could this
must be studied not only with intelligence, but result have been avoided? It is hard to see
also with sympathy. Great attention must be how."
paid to phrasing, which is just as important in
music as it is in poetry. To the casual student
WILL BE HELD IN ROCHESTER.
Bach's "Wohltemperirtes Clavier," his "Thirty-
three Variations on a Theme," and his "Inven-
tions" are merely mathematical. This view does Preparing for the Next Convention of the New
York State Music Teachers' Association.
Bach a very grave injustice, for he is often as
truly a lyric poet of the pianoforte as Chopin
The New York State Music Teachers' Associ-
himself. You must acquire the habit of listening
to what you are playing; only in this way can ation will hold its annual convention this year in
you criticise your tone production, variety of June in Rochester. In this connection a tem-
touch, and the general artistic effect of what you porary committee of prominent musicians has
are playing. You must give to the piano a soul been formed in that city under the chairmanship
of Bernard Lisching, with a view to insure the
and poetical expression.
success of the convention.
"Tranquil grandeur and dignity are usually to
The basic idea of the association is the raising
be aimed at in playing Bach, but there is also a of the standard of music in New York State and
frequent demand for brilliancy and fire, and also the means employed is the improvement of mu-
for lyric expression. In Bach we meet with poly- sic-makers themselves, amateur and professional
phonic treatment, not only as regards quantity, alike. It has been suggested that, if the associ-
but quality also, and thus this great master is ation is to do solid work it must demand from
invariably strong, vital, and fresh. You must the government a proficiency lest for persons
avoid exaggeration, not only in gesture, but also who teach music. Nobody can teach school, not
in your playing. Be enthusiastic by all means, even the most elementary branches of education,
be poetic, be imaginative, but withal be sane.
without having a certificate of fitness. If the
"Chopin was a great inventor, not only in his association were to approach the Legislature on
technical treatment of the pianoforte, but in his the subject, a similar qualification might be ex-
compositions considered as such. He has new acted from music teachers. The matter, however,
things to tell us and new ways of telling them. is one on which the opinion of the members has
No pianist ever equaled him in the exquisite re- not yet been focussed to a point. It is here men-
finement of his diction. Study him carefully and tioned because it shows how the action of the
you will find no melodic, rhythmic, or harmonic association may be brought within the range of
commonplaces, no vulgar melodies or halting very practical politics.
rhythms. We could study Chopin for a lifetime
and he would then have something new and
AN EPISODE OF THE OPERA.
fresh and beautiful to tell us."
That musical ignorance is not confined to the
boxes of the Metropolitan Opera House is shown
CHEAP OPERA FAILS IN LONDON.
by this bit of conversation overheard one night
in the choicest part of the orchestra during an
San Carlo Company Suffers Loss, Although
entr'acte of Mozart's "Marriage of Figaro." Mme.
Favored by Many Concessions Such as Rent,
Sembrich and the other stars had been acknowl-
Etc.
edging many curtain calls and yet the audience
Another attempt to give cheap opera in London clamored for more. At last to repeated
has failed. Although the San Carlo company "Bravos!" the singers came back once again, this
got Covent Garden rent free, paying only the time with Herr Conried in tow.
actual expenses for advertising, printing, light-
"And who is that?" asked a vivacious woman
ing, heating, staff, etc. ($2,800 a week), there was of her companion.
a considerable deficit. Out of the total receipts
"Oh, that's the composer, I think," replied the
obtained, very nearly 50 per cent, was yielded other woman with a beautifully calm confidence
by the nine nights on which Caruso sang and the that seemed quite to satisfy the questioner, for
gala performance. On the remaning tliirty per- nothing more on the subject wa? said by either,
and his contemporaries, such as portraits, en-
gravings, letters and the manuscripts of his com-
positions. There is also his piano, made by a
Vienna firm in 1790. The instrument is half
decayed, and has now lost almost all its tone.
REVIEW
THE
fflJJIC TIRADE
VOL. XL. No. 9.
Published Every Saturday by Edward Lyman Bill at 1 Madison Ave., New York, March 4, 1905.
SOUSA IN LONDON.
A
Paper in That City Afraid People May
Think He is a Real Force in Contemporary
Music—Issues Words of Caution.
The Londoners take Mr. Sousa very seriously
indeed. The "World of that city actually feels
impelled to protest against "the untenable claims
on behalf of Mr. Sousa put forward by injudicious
admirers who would have us believe that even
the greatest living conductors have something to
learn from him, and that he is a real force in
contemporary music. It is barely possible," the
writer continues, "that the Sousa concerts may
do good by proving to people who are afraid of
music that a concert may be quite lively, and so
insensibly lead them on stepping-stones to higher
things; but that is very problematical. It is
much better to be frank and say that the Sousa
concerts are admirable and unique of their kind,
and that the kind is not far removed from the
music hall. It is not necessary to introduce into
the matter any invidious considerations of
'higher' and 'lower'—and, indeed, they would be
quite out of place. It is certain that to hear Mr.
Sousa conduct one of his own marches is an in-
dispensable part of a complete musical education.
There isl nothing quite like it; the nearest ap-
proach was a Strauss waltz conducted by Strauss.
In both we have the incarnation of rhythm. That
is the chief greatness of Sousa, and almost sums
him up; but there are other things; and in an-
other aspect of his talent he may be called the
De Pachmann of the orchestra. His gestures
stand in the same relationship to his music as
the facial expression of M. de Pachmann to his
playing. They are wholly external to it, and
yet an inseparable part of it. * * * To sum
up, Sousa is an admirable tonic, and need do no
harm to the most highly developed musical sen-
sibility. Only we must not imagine that there is
more in him than there really is."
HAYDN'S HOUSE IN VIENNA.
Town
Council Buys Historic Dwelling—Mu-
seum of Two Rooms.
Readers will remember that the house in
which Joseph Haydn composed his "Seasons"
and "Creation," and in which he afterward died,
was in danger of being demolished and replaced
by a new building. The Vienna Town Council
has, however, recognized that it is its duty to
buy this historic house, and to preserve it for all
time. The museum, which has been established
there for some time, and which is visited by
many Englishmen and Americans passing
through Vienna, will, of course, remain perma-
nently in the old building.
The Haydn Museum consists only of two small
rooms on the first floor, once inhabited by the
great composer, and a narrow, dark attic, lit by
one very small window. Here he took refuge
when his wife had her petulant days and filled
the whole house with her loud voice, and here
Haydn wrote some of his maturest works. The
small stove which he had placed there is still to
be seen. In the two rooms on the first floor there
are many relics and articles recalling Haydn
SINQLE COPIES, 10 CENTS.
J2.00 PER YEAR.
formances there was a heavy average loss. In
other words, but for Caruso and the gala, the
total takings of the reason, assuming the receipts
of the ten performances in question to have aver-
aged the same as those of the other "off" nights,
would have been reduced to such a sum as would
have left nothing whatever forthcoming in the
PADEREWSKI ON STUDY.
way of either rent or profit. As it was, thanks
to the profitable houses which Caruso and the
Chopin and Bach Should be Constantly Studied
gala attracted, the actual loss realized on the
—Some Hints on Interpretation.
season as a whole was something less than four
"Chopin and Bach should be studied every figures. "On the whole, therefore, one is forced,"
day," said Ignace Paderewski recently. "Strange says the London Truth, "reluctantly to agree that
as it may appear, I consider Bach and Chopin the feasibility of cheap opera in London has not
kindred spirits. Chopin, although upon superfi- been demonstrated by the recent season at Covent
cial examination, his compositions seem anti- Garden. In spite of an excellent company, spir-
thetical to Bach, was more influenced by the ited management, and enthusiastic press notices,
great Johann Sebastian than by any other com- expenses hopelessly outran receipts, and the sea-
poser. Of course Beethoven, Bach, and Chopin son ended with a balance to the bad.. Could this
must be studied not only with intelligence, but result have been avoided? It is hard to see
also with sympathy. Great attention must be how."
paid to phrasing, which is just as important in
music as it is in poetry. To the casual student
WILL BE HELD IN ROCHESTER.
Bach's "Wohltemperirtes Clavier," his "Thirty-
three Variations on a Theme," and his "Inven-
tions" are merely mathematical. This view does Preparing for the Next Convention of the New
York State Music Teachers' Association.
Bach a very grave injustice, for he is often as
truly a lyric poet of the pianoforte as Chopin
The New York State Music Teachers' Associ-
himself. You must acquire the habit of listening
to what you are playing; only in this way can ation will hold its annual convention this year in
you criticise your tone production, variety of June in Rochester. In this connection a tem-
touch, and the general artistic effect of what you porary committee of prominent musicians has
are playing. You must give to the piano a soul been formed in that city under the chairmanship
of Bernard Lisching, with a view to insure the
and poetical expression.
success of the convention.
"Tranquil grandeur and dignity are usually to
The basic idea of the association is the raising
be aimed at in playing Bach, but there is also a of the standard of music in New York State and
frequent demand for brilliancy and fire, and also the means employed is the improvement of mu-
for lyric expression. In Bach we meet with poly- sic-makers themselves, amateur and professional
phonic treatment, not only as regards quantity, alike. It has been suggested that, if the associ-
but quality also, and thus this great master is ation is to do solid work it must demand from
invariably strong, vital, and fresh. You must the government a proficiency lest for persons
avoid exaggeration, not only in gesture, but also who teach music. Nobody can teach school, not
in your playing. Be enthusiastic by all means, even the most elementary branches of education,
be poetic, be imaginative, but withal be sane.
without having a certificate of fitness. If the
"Chopin was a great inventor, not only in his association were to approach the Legislature on
technical treatment of the pianoforte, but in his the subject, a similar qualification might be ex-
compositions considered as such. He has new acted from music teachers. The matter, however,
things to tell us and new ways of telling them. is one on which the opinion of the members has
No pianist ever equaled him in the exquisite re- not yet been focussed to a point. It is here men-
finement of his diction. Study him carefully and tioned because it shows how the action of the
you will find no melodic, rhythmic, or harmonic association may be brought within the range of
commonplaces, no vulgar melodies or halting very practical politics.
rhythms. We could study Chopin for a lifetime
and he would then have something new and
AN EPISODE OF THE OPERA.
fresh and beautiful to tell us."
That musical ignorance is not confined to the
boxes of the Metropolitan Opera House is shown
CHEAP OPERA FAILS IN LONDON.
by this bit of conversation overheard one night
in the choicest part of the orchestra during an
San Carlo Company Suffers Loss, Although
entr'acte of Mozart's "Marriage of Figaro." Mme.
Favored by Many Concessions Such as Rent,
Sembrich and the other stars had been acknowl-
Etc.
edging many curtain calls and yet the audience
Another attempt to give cheap opera in London clamored for more. At last to repeated
has failed. Although the San Carlo company "Bravos!" the singers came back once again, this
got Covent Garden rent free, paying only the time with Herr Conried in tow.
actual expenses for advertising, printing, light-
"And who is that?" asked a vivacious woman
ing, heating, staff, etc. ($2,800 a week), there was of her companion.
a considerable deficit. Out of the total receipts
"Oh, that's the composer, I think," replied the
obtained, very nearly 50 per cent, was yielded other woman with a beautifully calm confidence
by the nine nights on which Caruso sang and the that seemed quite to satisfy the questioner, for
gala performance. On the remaning tliirty per- nothing more on the subject wa? said by either,
and his contemporaries, such as portraits, en-
gravings, letters and the manuscripts of his com-
positions. There is also his piano, made by a
Vienna firm in 1790. The instrument is half
decayed, and has now lost almost all its tone.
Future scanning projects are planned by the International Arcade Museum Library (IAML).