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THE
MUSIC TRADE
NEW ORATORIO LEADER.
3 Great Pianos
The
With 3 sounding boards
in each (Patented) have the
greatest talking points in
the trade.
Society Secures Louis Koemmenich to
Succeed Frank Damroseh.
The board of directors of the Oratorio Society
has selected Louis Koemmenich as conductor of
the society for the season 1912-13, to succeed
Frank Damrosch, resigned. Mr. Koemmenich was
leader of the Heinebund of this city and later of
the Brooklyn Saengerbund. In Philadelphia the
Junge Maennerchor won the Kaiser Wilhelm prize
in three consecutive years under the leadership of
Mr. Koemmenich. This able musician was also
the conductor of the United Singers of Hudson
County and the Jersey City Liederkranz for seven
years.
NO KICKING FOR THIS "DAWG."
The spirit of the average advertising man is well
illustrated in one of the several songs improvised
at the National convention of Ad Clubs recently
held in Dallas, Tex. The verse, set to the music
of the "Missouri Dawg Song," was as follows:
I've a dawg, but he ain't no houn';
He is a bull—weighs eighty poun',
Two rows of teeth and an awful frown,
Nobody's kickin' my dawg aroun'.
We fix " o n e price"—
wholesale and retail.
47
REVIEW
THE LATEST MUSICAL FIND.
The latest musical "find"' is a song by Rossini
with orchestral accompaniment by—Richard Wag-
ner ! In 1835 Rossini gave to the world a collec-
tion of twelve songs with piano accompaniment.
The last of these is a duet, and this Wagner
seems to have liked well enough to arrange the
piano part for orchestra. He was only twenty-
five at the time, and his income as conductor of
the opera at Riga was so small that he could not
afford to engage a copyist, but was obliged to
write out all the separate orchestral parts himself.
The duet was sung at a concert he arranged in
1838, for the first and probably only time. What
gives it a particular interest is the fact that the
text depicts a storm at sea, and Wagnerr was at
that time busy with the story of his marine opera,
"The Flying Dutchman." The manuscript of this
song is now in the hands of a Munich antiquarian.
It belonged for years to the tenor Tichatscheck,
the first Tannhauser and an intimate friend of
Wagner, who, strangely enough, believed it to
be a Rossini manuscript which (he wrote on the
cover) he had received from Conradin Kreutzer
in Vienna in 1830. Had he examined it he would
have seen that it is in Wagner's own elegant and
legible handwriting, as Dr. Alfred Weinstein at-
tests.
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