Music Trade Review

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TH
MUSIC TRADE: REVIEW
TIMELY TALKS ON TIMELY TOPICS.
As we enter 1906 the tendency to retrospect is
inevitable, notwithstanding the season began so
late that we can hardly feel that we have don©
more than enter it. However, conditions are very
pronounced, and they are to be read as an open
book. As was remarked in the columns of this
paper when the season opened, there was not one
American composer represented in any line or
any orchestral programme. The tremendous im-
petus that was given orchestral music resulted in
establishing a following for Russian music, for
French music, for the young German school, for
all of which thanks to Modest Altschuler and his
associates, the visit of Vincent D'Indy, and the
activity of Walter Damrosch in addition to the
German visiting conductors under the Philhar-
monic auspices. There is no possible doubt that
through this came a revulsion of sentiment, and
two new organizations which have just dawned,
bid fair to put the American upon a different
basis in his own country. These two are the
MacDowell Club and the New Music Society of
America. In addition to these the Volpe Sym-
phony Orchestra announces itself ready to es-
pouse the cause of the American; and Albert
Mildenberg with co-operation of other American
composers has announced plans for the exploita-
tion of the best American compositions; in fact,
coming as all this does, it is just like the burst-
ing of a bomb, because there have been no pre-
paratory experiments along these lines. But
more significant than all this is the fact that
the people behind these movements are not mu-
sicians themselves who are clamoring for a hear-
ing and opportunities—these had given up in de-
spair years ago. They are people of prominence
in intellectual and financial circles—people who
have come to realize the unparalleled treatment
which America has given its own. So much for
the promise of the future.
Since the visit of D'Indy and his presentation
of the French music of the present, there has
been much discussion among music lovers con-
cerning the relation and the difference between
the entire French programme offered this season,
and those served to us through the medium of the
Russian Symphony Society. It is not surprising
that a consensus of laymen's opinions is in favor
of the Russian music. However, it should be
remembered that we have heard the Russian and
French music under very different circumstances,
notwithstanding the tremendous advantage en-
joyed by the French music in being presented by
the Boston Symphony Orchestra, which stands
acknowledged as the greatest body of players in
any country. We were not, however, offered the
broad insight to the music of France or of its com-
posers, but to the music of D'Indy and a few of
hie contemporaries and pupils, who cannot be ac-
cepted as an absolute and complete representa-
tion of what France has to offer. There are
many of us who prefer Cesar French, Saint-Saens,
Dubussy and others quite as interesting as those
presented by D'Indy with all due respect to Chaus-
son, Dukas, Faure and last, but not least, D'Indy
himself. And there is yet Gounod, whom we can-
not afford to overlook, especially in point of the
fact that we may regard him as the antithesis of
D'Indy and his complexities.
We have come to know the Russian music by
means of the Russian Symphony Society and
other organizations, who have made their selec-
tions from the broadest possible scope. We have
become familiar with Russian harmonies, having
heard them frequently and having heard the sev-
eral works of the same composers as also many
other composers. There are also other good reasons
why Russian music appeals so forcibly to music
lovers and to sympathetic natures. It is because,
whether we are conscious of it or not, there is a
sob and a broken heart in every note. I t is the
actual embodiment of what Russian peoples have
been living through for centuries, and it is the
carnage and warfare of to-day. The French na-
tion had its reign of terror, it Is true, but what
grandeur and what luxury, what elegance and
refinement characterized the country before
that! That has become an event in history, and
the blood stain has faded. Whatever else may
have been the power that caused that wonderful
nation to arise, the dominant note was intellect
rather than force. But Russia has ever lived
over pools of running blood, and music, her only
avenue of expression, told no tales that could
send its writers to Siberia.
It must not be believed that in every musical
avenue the American is at a disadvantage. To
sum it up, we may say that it is only as public
performer and as composer of serious music or
works in the larger forms. With the exception
of two or three European teachers of note the
pedagogues of music in this country are far in
advance of those of the old country. Both finan-
cially and artistically this is the case. What the
American woman has achieved in Grand Opera
may be seen by a hasty glance at the following
names: Olive Fraemstadt, Louise Homer, Edyth
Walker, Marie Rappold, Josephine Jacoby, Ma-
rion Weed, Lillian Nordica, Emma Eames and
Bessie Abbott, to quote the Metropolitan artists
only, and there are a number in English opera
worthy of consideration. Why repeat the well-
worn statement that the very topmost rung of the
ladder is not for everyone? There are very few
in any profession who succeed in reaching the
very top, but that does not signify that it is not
open to every one. Whether this involves years
in Europe or years anywhere else, makes little
difference since it is time as much as locality
that counts. It is not possible to pass on without
pointing out the remarkable fact that with the
exception of David Bispham there is not one noted
operatic figure among American men. Bispham
was the equal of any star of any nation, while he
had few equals himself during his career on the
operatic stages of Europe and America. There
is in this fact matter for more extended comment
than we can give it at present, at the same time
we may offer the suggestion that it must be due
to the American's second nature to turn his en-
ergies toward money making as soon as possible.
It is unquestionable that no writers of popular
music in any other country in the world make
as much money as the writers of light music in
America, many of whom have made fabulous
fortunes.
Is it brutally commercial at this juncture to
ask what music means to those who follow it as
a money maker. In answering this question we
cover it aesthetically as well as commercially,
because try as we may to separate them in this
particular commerce and art are so interwoven
that there is no distinguishing between them.
This is so self-evident that it seems hardly neces-
sary to show that as music grows more necessary
to the public the public becomes more willing to
pay for it. As this public increases in size new
organizations spring up, each a little different
from the other in its offerings. This does not
mean that there are more instrumentalists in the
field or more singers, but already last year new
and compelling forces acrose in orchestral circles
when organizations which had been struggling
for an existence succeeded in interesting capital
and influence, and more than this, the public at
large. Most of the old organizations have in-
creased the number of their concerts with entire-
ly satisfactory results. New ones presenting them-
selves for consideration are meeting with en-
couragement. But far more significant than these
is the cropping up here and there of new cham-
ber music organizations, the demand for which
proves a great intellectual advance. As has fre-
quently been stated in these columns, the au-
diences of the Kneisel Quartette fill every nook
of Mendelssohn Hall at their six concerts in
New York and five in Brooklyn. In addition to
these concerts the Boston Symphony Quartette,
Willy Hess, leader, gives three. The Olive Mead
Quartette gives three, the Kaltenborn Quartette,
three, and among the newer aspirants for hon-
ors in this field the Margulies Trio give three,
the Marum Quartette give a series, the Leo
Schulz Quartette gives a series, as do the Rus-
sian Symphony Quartette, and the Flonzalay
Quartette, not to extend the list of string quar-
tettes. A new line of chamber music is mak-
ing itself felt. This is the wood-wind organiza-
tion as demonstrated by the Longy Club, in which
five of the wood-winds and reeds of the Boston
Symphony Orchestra are twice represented. These
are flutes, oboes, clarionets, bassoons and Eng-
lish horns. A similar club has just been formed
with the wood-wind membership of the New
York Symphony Orchestra. This phase of cham-
ber music has become an accepted form in Paris
and whereas there may be considerable interest
manifested the monotony of color will make a
little of it go a long way.
The pianists of this season so far have prac-
tically been Pugno and Reisenauer, and these
two in themselves represent a remarkable ob-
ject lesson in contrasts. Both are the very
greatest in the highest acceptation of the term,
notwithstanding that one is essentially French
and the other is all that is German. Moreover,
the great catholicity shown by both is perhaps
each man's most distinguishing feature. Reisen-
auer's musical education was well calculated to
bring this about, since he studied in Germany,
Italy, England, Russia and, in fact, nearly every
country in Europe. For twelve years he was a
pupil of Franz Liszt, and is probably one of the
greatest representatives of that master, not for-
getting, however, such exponents as Rosenthal
and Adele Aus der Ohe, the latter of whom is
now regarded as a resident of America while Ros-
enthal will make an enormous tour next season
under the auspices of the Aeolian Co., with the
Weber piano. Both Pugno and Reisenauer will
go to the Pacific Coast this spring. There seems
to be much interest manifested there in the ap-
pearance of these artists, and that two of the
rarest treats are in store we who have reveled in
their New York concerts, can, with impunity,
promise. The new year will bring Harold
Bauer, who has not yet played in New York this
season. Arthur Rubinstein, who will make his
debut January 8 at Carnegie Hall with Fritz
Scheel and his Philadelphia Orchestra. Joseph
Lhevinne, the Russian, also new to this country;
Rachmaninoff, composer-pianist, who will appear
here for the first time, although as composer
this Russian has become well-known and a great
favorite in America. A plan which bids fair to
arouse sensational interest is the possibility of
a concerto concert, with three such eminent
pianists as Harold Bauer, Rudolph Ganz and
Emil Paur. It would seem as though this might
be regarded as multum in parvo.
BMILIE FRANCES BAUER.
MURIEL FOSTER.
The Distinguished English Contralto to Visit
America Again.
Muriel Foster, it is announced, will return to
America in February for a third consecutive sea-
son, to sing a number of concerts, oratorio per-
formances and song recitals under the manage-
ment of Henry Wolfsohn, remaining in this coun-
try until after the Cincinnati festival in May.
Miss Foster is at the present time singing the im-
portant fall festivals of England, and will con-
tinue to sing until immediately before her de-
parture for America. Miss Foster is an extraor-
dinary artist of wonderful powers, and excels in
high dramatic work calling for intensity of ex-
pression, intellectual interpretation, refined con-
nection and sound musicianship. These now
too rare qualities combined with her superb and
powerful voice of refreshing purity, and a beau-
tiful personality, lend a charm to her perfor-
mances altogether delightful.
Miss Foster's
song recital programmes show keen intelligence
from beginning to end, and she is beyond a doubt
one of the most interesting recital artists before
the public to-day. Welcome back, Miss Foster!