KUNKEVS MUSICAL REVIEW, DECEMBER, 1898. 18{$
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NOTES FOR THE CURIOUS BETWEEN THE call for a dozen Anti - kamnia tablcis (five grains opy which protected the rider from sun or rain. NUMBERS. each, with monogram A<), is now as familiar to This canopy is like the ordinary buggy top, and is apothecaries as any that comes to them. for all steadied by means of a small wheel at the back Art.-It is said that Mr. Albert Bierstadt sold his headaches, rheumatic pains, neuralgias, colds in the which runs on the ground. painting,'' The Last of the Buffaloes," for $50,000. head, infiuenza or la grippe, with all of its preced Life Thoughts.-Your life is what yotl make it. ing and following pains. For adults, in all condi The best philosophy-a contented mind. Llterature.-Thc first book printed in the En~ tions where pain is to be subdued, two tablets, If you would be strong, conquer yourself. lish language in America was a book of psalms. Th1s crushed, at a dose, with water or wine to follow, Man should be ever bciter than he seems. was printed in 1640, in the Massachusetts Bay set never disappoints. tlement, and called the Bay Psalm Book. A few Music.-It is a peculiar thing, according to the Intending visitors to Bayreuth next summer are years si nee one of I hese sold in New York City for New York Sun, that so many of the most prominent informed that the dates of the Wagnerian per $\,200. musical composers were born in winter mouths. formances have been fixed. There are to be two Medlclne.-"As a medical Student, in 1865, I re Mozart, Schubert and Au ber were born in the month cycles only of' 'Dt>r Ring des Nibeluugen," namely, member hearing Dr. Oliver Wendell Holmes say to of January; Handel, Mendelssohn and Rossini, in on July 22 and the three following days, and on his class at Harvard: 'When you begin practice, February; Bach and Haydn, in March; Beet110ven, AugustJ4, 15, 16 and 17. The first (and perhaps yon will have twenty remedies for one disease; but in December. ihe second) of these cycles will be conducted by after twenty years, yon will have twenty diseases Richter, and should J ean de Reszke attend the fes for one remedy.' This prediction is fullilled in Anti Science.-It is stated that Mr. Edison owned be tival he will probably appear in " Siegfried" ancl kamnia, which meets so many indications," writes tween 400 and 500 patents. When experimeniing, "Gotterdammerung." :For ''Die Meistersinger," Dr. W . E. Anthony, the great authority on medicine. he wore a long, loose frock of checked gingham, July 28, August 1, 4, 12 and 19 have been set apart. Every year of its history Antikanmia has,while con reaching from his chin to his feet. "Parsifal" is to be given seven times-on July 29, firming its remedial qualities, continually exalted One of the most admirable uses to which rubber 31, August 5, 7, 8, 11 and 20-under the conductor its value as a pain conqueror. In fact, the medical has been put is for horseshoes; it is not only light ship of Mottl. profession has now accepted it as the most satisfac and durable, but it markedly improves the hoof. ------tory remedy in all cases where relief from pain, or One of the novelties exhibited at the National Cy Subscribe for KUNKEL'S MusiCAr, REVIEW, the rest in nervous disorders, is sought. To receive a cle Show, at the Crystltl Palace, London, was a can- greatest of all musical journals.
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AN INTROSPECT. AN IMPEACHMENT OF GERMANY'S MUSICAL His last appearance here was in 1896, with Kath TASTE. erine Klafsky, at the Academy of Music. At a recent meeting in Queenstown, Ireland, of Alvary inherited some of his father's taste, and the Munster section of the lncorporated Society of The German capital, says Edward Breck, "adores assisted '~Ta ]t er Dltmrosch in desiguingthecostumes Musicians, . he leading o1·ganization of professional squeaky singing and playing out of tune." As for" The Scarlet Letter." His confreres in the musicians in Great Britain, one of the members, proof thereof he unkindly refers to the enthusiastic United States all thought highly of him as a man Mr. Frank Holmes, read an admirable paper on the reception accorded Miss Lillian Russell, an "ordi and an artist, and siucere sorrow is everywhere ex present status of the musical profession. He called nary singer," and that lavished upon Miss Ada Col pressed. for · honest self-examination and rigid criticism. ley, a young Australian lady, whose voice goes to The following is a summary of his paper : an astonishing height till it resembles a whistle. NO VOCAL TEACHERS IN ITALY. "The man who does not, once and again, pull When she sings'' Cavalleria Rusticana," Mr. Breck's himself up and ask, 'Where do I stand in the whole spiritual and physical being shudders with Adelina Patti and Mme. Sembrich represent tho excruciating agony; but the Berlin audience rises best traditions in singing. Tiley both have always world?' is either afraid to face the inquiry or con refused to en large their repertories·beyond tho roles scious of his lack of desire or ability to •tand as one man in a deafening din of applause. Mr. suited to their voices. Mme. Sembrich's opinions, higher. Music stands highest of all the art11. Where Breck is correspondent for the New York Times, therefore, carry much weight. In an intetTiew she do musicians-the rank and 1le-stand? Now here? and he continues his case of impeachment as fol is reported as saying : Why? Because we have neither aspired to a posi lows: "Now, I do not want to draw the conclusion from this appalling fact that the Germans are not ''There are no singers amoPg the younger Ital tion nor entitled ourselves to it. The only thing we ians who are properly taught or take the necessary know anything a.bout is music-and but little of musical, but only that they are less so, particularly time to prepare themselves for the operatic stage. that; and too often the musician, when he is a mu the masses, than we are taught to believe. In most sician, is nothing more. We have not made our ways the Germans are certainly the most rnusical There are no teachers left in Italy to-clay. lf I selves in any sense a force in the world, and are not people in the world ; in a great many others they were asked, I could not name a single one there to are the most unmusical. A conservatory student whom I would send a pupil. This is, of co urse, bonndup in the great life of the nation. The best the chief reason why the younger singers of Italy proof of this is the fact that we have found no place who engages himself at a small theater as third are taught as poorly as they are. Another reason is in the literature of the country-serious, romantic, bandm>~ster, or 'choir repetitor,' at 100 marks a that now they give their attention chieiiy to roles dramatic, or comic. What great writer has ever month or less, is required to read at sight badly that they think can be sung without great study. taken an organist for his hero? What play has him copied orchestral scores, often corrected and altered To sing Wagner's music properly a person shoulll even for its villain? There is no surer gage of the to the point of illegibility, and he can do this ; but, know all there is to know about the art of si nging. hold a class or profession has on the interests and unless he be an exception, he may become a cele But a great many do not believe that. They think sympa.thies of the public than the often recurrence brated conductor without being able to distinguish between a true and a false tone. There is no coun it is enough to declaim or shout dramatically. Tho of its individual types in the literature of the rlay. younger composers of Italy are all writing music of Our loaders in the profession are greater than their try in the world where so nlllch music can be heard: that kind. Their imitation of Wagner has led to forerunners of the past three centuries. We, the there is no country in the world where so much the neglect of merely lyric singing. So we see rank a11d file, are of less account than the rank and singing and playing off the key is tolerated, nay, enjoyed. Here again the German national dnlness young persons without adequate preparation who file of any other profession then or now. The vast begin to .· bout Wagner and the works of the younger majority of us are held in humiliating contrast to of sense, which precludes finish and finesse, comes composers. The result is that the voice goes within all other professions. They despise us, and the in. . . . The German stands alone as a creative a very short time. I know one young Italian who world simply doesn't count us. Among many dis musician; as an interpretive artist he falls far be is now only a few years over 30. She is beautiful couraging conditions which '':e can !lot he.Jp we in low the Slav, the Hnngarian, or the Latin; for the clude the amateur-that clarmg tlung With more tire, the caressing touch, t.he diablerie-in a word, and a fine actress, but her voice is completely gone, time, more money, and more brains than ?ur the artistic finish is not his; that unfailing instinct merely because she was never properly taught', and selves-doing all the things we d() (some of tnem for the 'nuance' which is the soul of artistic expres has been singing the dramatic music of the tww better)-and all for nothing! Music being. as I have sion; Only of the preeminently classic is he a mas· composers. Formerly if they did not receive proper said, the highest of the arts, and w_ · the lowest of terly interpreter, the music which al lows of the prt'paration there was some chance for thl'lll to the professors, there is a want of adJustment some least individuality on the artist's part, like Bach learn ultimately. They began with the lyric operas and Beethoven." As a further illustration, Mr. of Verdi, Donizetti, and Rossini, and if !'hey after where which it is our duty to tind out and set right, ward learned to use their voices properly it was not and thus establish between music and musicians Breck refers to the celebrated German bands, that beautiful sense of proportion and harmony which, he says, set his teeth on edge. Many a fife too late. The music they >aug was not of a kind to corps in the Fatherland you may hear playing tunes injure thevoice pPrmanently. But now, when they which-sadly we say it-does not exist now. start in on Wagner and the young dramatic com Towott·cl that desirable end may I make a few sug- a whole half tone too flat. posers and sing their music without knowing how gestions? . . to sin~, the Yoice is gone before they realize thaL ''Let us show more mterest m, and sympathy DEATH OF MAX ALVARY. good swging is as necessary for one kind of music with the occupations and arnusements of those as it is for another. But they won Jd find it diflicult arou'ud us. Let us claim and exercise to the full all Max Alvary, the great Wagnerian tenor, and a to get the proper training in their own countr.v to the rights-municipal, political, etc.-we may be popular favorite in tbe United Statee, died on No day, for the art of singing has declined there now entitled to. Let us join every movement for the vember 8 of cancer of the stomach, in Tabarz, until even the teachers seem to have forgotten the lessening cf the heavy burdens which press and Thuringia, Germany. He was forty-one years old. old traditions." keep clown our brothers and sisters in our own and Alvary's real name was Max Aschenbach, and his -----+---- other lands. Let us ourselves live beautiful lives, father is the well-known painter, Oswald Aschen ONE OF WAGNER'S DREAMS. that so the refining infl.nence of the art we love may bach. shine through us and attract others. Let us, while Alvary's early training was not that of a singer. Mr. Percy Betts, of the London Daily News, calls extending our general knowledge of our art, so far He had been an architect and a business man before attention to the fact that in the hitherto unknown as we can, find out the particular bra,nch we have he decided to cultivate his voice under Lamperti, in letters from Wagner to Emil Heckel, the publisher, most natural aptitude, etc., for, and endeavor to Dresden, and Stockhausen, in Frankfurt. about to be issued by Fischer, of Berliu, the inter excel in that. Let us, as often as maybe, hear first His progress was rapid, and in 1882 he made his esting fact is di•sclosecl on authority that Wagner, rate performances of first-rate works. Let us our debut at Weimar. His voice then was of a light at the time of his death, had in his brain the com selves whether as performers, conductors, or tenor quality, and he was considered. a talented ex plete scenario for thre" new operas on the subjects teachers have nothing to do with music that is not ponent of the older Italian roles. respectivel:v of Martin Luther, Frederic the GreaL of the b~st, never dreaming th!l-t popularity-or! for Alvary was ambitions, however, and he turned and Duke Bernard of Weimar. A vVagnerian opem, the matter of that, unpopulanty-1s a proof of ex his attention towards Wagner. The "Trilogy" with the Protestant Reformer as hero, should have cellence. Let us always have a free pupil or two on interested him most, anrl he made a close study of been a masterpiece indeed. In some of these letters our list, with whom talent is more en evidence than the poem and music. Wagner is frivolous: for example, in an epistle ac the means to cultivate it. Let us never resent hon During Lilli Lehmann's first season in New York, companying a photograph of his wife, he writes in est criticism-if only we are fortunate enough to Alvary came here and sang Don Jose to her Car· German doggerel, "Dame Cosima isingoodhumor, get it. Let us remember that, in advancing our men. He was very well received, but it was not though that surprises no one, for she posses~es a sn selves we are most surely advancing our art; and until he appl·ared as Siegfried in Wagner's opera of perior husband who writes good music." Most of that it in turn, will shed on us, as we walk along the same name that he had a chance to show his the letters are, however, upon the establishm ent of to~eth~r. s?me of th~ addition_al luster we have true artistic metal. Then his popularity instantly the Bayreuth Theatre, and they are of deep interest. gamed for 1t by our faithful service. became assured, and reached its culmination in To the minds of many, it would seem almost au 1890, when, after his ''farewell" appearance at a impossibility to conceive of Wagner's setting up matinee sever:o.l hundred women waited at the stage Dr. Martin Luther as a hero of one of hi s highly John C. Freund, whose new journal, Musical door until he walked to his carriage, and, in their emotional and passionately lurid music-dramas, America, is meeting with extra~rdinary a~d well uncontrolled enthusiasm, embraced the handsome although it mnst be admitted that the tearing down merited success, very aptly says lll a recent Issue: tenor on the open street. and burning of the Pope's Bull would have giren A musical paper, to succeed, must. offer au hon Alvary then became a member of the Stadttheater the maestro a splendid chance for Vt'heme nt decla orable business proposition to ad vert1sers, as, from in Hamburg, and, later on, twice returned to this mation. Possibly Wagner intended to make Lu the conditions controlling the publication of news country, under Damrosch's mauagement. . ther's interview with the devil, in which the learned papers the subscription price and the price at With their oust omary fickleness, the New Yorkers doctor threw his inkstand at the arch demon's which the paper must be sold at r~tail do not c_oyer had grown indifferent to their one-time idol, and head, one of the scenes of the opera. By the intro the expense. This honorable busllless propositiOn Alvary's reception was lukewarm. He was in poor duction of red fire, with Mephisto conjuring up a must be offered to teachers, singers, pianists, mu physical condition, and about two years ago he fell powerful vision of temptation, to be followed by sicians of all kinds, managers and the leading firms ill. His money was soon exhausted, and some few the discomfiture and flight of the infernal legion, in the rnusical industries. months back his friends in this country found it Wagner would have had a superb inspiration for a If the paper is to be purely_ a c_ritical pape1: 3:nd a necessary to get up a subscription in order to aid weird and sensational pffect. Frederic the Great, paper for musicians and professwn_als only, It~~ ?b him to support his family. bPing of a satirical and philosophical bent of mind vious that it can offer no sound bnsmess propositiOn Alvary's Siegfried has come to be accepted as the and without commanding staturP or dignity of per to advertisers ofth" kind mentioned, as the cards standard interpretation of the role. He looked and son, lends himself in a very slight way to the de of the professionals would simply be read by other acted the part to perfection. While retai ing mands of H grand opera of the W a.gnerian type. professionals. Wagner's declamatory style, he yet managed to lend Both he and N apolian looked very insignificant on From this it follows logically that a paper to offer his singing a lyrica1 backgr•• tmd. Even De Reszke horseback, and neither was in any sense a typical an inducement in an honorable way, to profes (a great admirer of Alvary, by the way) could not popular hero of the Gustavus Adolphus, Wallen sional people to' support it by the!r advertisements, tell the story of Siegfried so simply and convinc stein, or Cromwell type. Certainly Frederic's phil· must be read by the musical pub he, by the pe~ple ingly as Alvary He had also s11ng at Bayreuth, as osophical conversations with Voltaire would not who pay to go to the OJ?era, to concerts, to musical Tannhanser and Tristan, but these roles earned ~how off well in nmsical g-arb and then again, as entertainments of all kmds, to the theater, by the him little success in America, though he looked· a Frederic was always proof against the charms of people who have money, as wel~ as ambition to give most picturesque Tristan. His voice was already women, it would have been an opera ex necessitate, their children a musical educatiOn. gone then. without a love-song. December, 1898. KUNKEL BROS., Publishers, 612 Olive
TERMS OF SUBSCRIPTION. 227th Kunkel Popular Concert, (third co11cert of citals will undoubtedly be the greatest musical treat One Year, Twelve Numbers, - $3.00 the season), Wednesday evening, N nv. 30, 1898. we have ever had. Rosenthal will appear in St. 1. Duet for Piano- Zampa Overture, Herold Louis Monday evening, January 30th, and Weclnes- / Single Number, - 1.00 Melnotte. Grand Concert Paraphrase. Charles J. day afternoon (Matinee) :February 1st, at the 14th 'l'his includes postage on pape.· to all points. Kunkel and Charles Kunkel. St. Theater. 2. Aria-Q mio Fernando, frotn La Favorite, Subscribers finding this notice marked wlll unders tand that Donizetti. Mrs. Josephine Hilty-Kimmel . their subscription expires with this number. The paper will be ~ MISS BAUSEMER'S CONCERT. discontinued unless the subscription be renewed promptly. In 3. Violin Solo-Ballacle et Polonaise, ·Vieuxtemps. renewing your subscription please m ention this fact, and state Arnold Pesold. One of the interesting features of the season was with wl1at number your subscription expired. 4. Song-I Will Love Thee, (Romanza), Stanzieri. the concert given by M1ss Edith Bausemer, daugh James J. Rohan. ter of Mr. and Mrs. Franz Bausemer, at Memorial Entered at St.Louis Post Office as Mall Matter of the Second Class 5. Piano Solo-(a) Consolation, Chopin. (b) Whis Hall, on the 11th ult. ]JPring of the Fairies, Rubinstein. (c) Carnival of The appearance of Miss Bausemer in the dual role THOMAS M. HYLAND, EDITOl~. Venice, Melnotte. Charles Kunkel. of pianist and violinist was lookPCl forward to with 6. Song-(a) Spanish Love Song, Chaminade. (b) special interest, and it may be said that the high ex When Love is Kind, Old Melody. Mrs. Josephint pectations of the large and critical audience prt-sent DECEMBER. 1898. Hilty-Kimmel. were fully met. Splendid dash and brilliancy char 7. Violin Solo-(a) Legende, Bohm. (b)1 Scherzo, actf'rized her work, and every mtmber showed ar Goens . Arnold Pesold. tistic finish and unblemished technique. Miss Bau 8. Song-(a) The Dew Upon the Lily, German. semer was literally showered with floral tributes, Caution to Subscribers. (b) Arabian Love Song, De Koven. James J. Rohan. and was given a most enthusiastic reception. Do not subscribe to the REVIEW through any one H. Duet for Piano-American Girls March, Kunkel. on whose honesty you can not positively rely. All Charles J. Kunkel and Charles Kunkel. authorized agents must give our official r eceipt. ABORIGINAL AMERICAN MUSIC. ·ROSENTHAL. Professor Wilson of the National Museum states A good Christmas or New Year's present is a sub that music evidently occupied a prominent place in scrip ion to KUNKEL'S MusiCAL REVIEW. For the Moritz Rosenthal, the Polish Pianist, has taken the arts of the ancient Mexicans, for it is mentioned subscription price-$3 per year-you receive nearly New York by storm. His success, unlike that of by the early Spanish writers in connection with $100 worth of the choicest piano solos, duets, songs, others of his art, was purely clue to his tremendous war, religious ceremonies, and of festivities of studies, etc. The REVIEW, during the year, gives a virtuosity. It is not a case of stimulated enthu various kinds. The instruments described or men valuable Fbrary of music, keeps you in touch with siasm, of excited imaginations. The man's per· tioned were drums, timbrels, flutes, horns, current events, maintains your mterest in music, sonality does not dominate the artist's genius. Au trumpets, and rattles. According to Clavigero they and proves a welcome visitor to your home. thority of style, mastery of technique, absolute had no stringed instruments. There is no repi·e command of an instrument, which seems to become sentative of the ancient Mexican drum in the N a KUNKEL POPULAR CONCERTS. a mere plaything in his hands, and a marvelous tiona! Museum. It is described, however. the exhibition of artistic achievement, touching tht' "teponaztli" of the Aztecs, as being made of a single The Kunkel Popular Concerts given at the Four limits of human possibility, these are the factors block of yery hard wood, somewhat oblong, square t,eenth Street Theatre every W ednesclay night are which arouse his audiences of musicians and music in shape, which was hollowed, leaving at each end drawing large and enthusiastic audiences. Mr. lovers to the sincerest bursts of applause a public a solid piece about three or four inches in thick Charles Kunkel, the head and front of these justly performer has ever received in this country. Car ness, and at its upper side was a kind of sounding celebrated concerts, is sparing no pains to give the negie Hall has been crowded at every performance. board about a quarter of an inch in thickne~s. In public concerts that, in so far as talent, scope of The crush was such that the sale of tickets had to this were made three incisions, two running par programmes and educative aims are concerned, are be stopped on several occasions. Strangely allel some distance lengthwise of the drum, and a not surpassed. The public good is his aim He gives enough, there were no contentions, no taking of third running across from one of these to 1he other music lovers an opportunity of spending a few thor sides, no comparisons. The existence of clitl'ering just in the center. By this means two vibrating oughly pleasant and profitable hours every Wednes forms of pianistic expressiveness was recognized. tongues of wood were obtaillecl, which, when heateiJ. day night. He invites the younger generation, the The creation of a new idol did not mean the top with a stick, produced sounds as clearly d ~ fin ed as students of music, to come and hear the works of pling over of an old one. The acclamations were those of the kettledrums of the present clay. the masters, receiving the enrouragement that will not "Le Roi est mort; Vive le Roi!" The asser The rattle, it is stated, appears to have occupitld send them back to their studies with renewed en tion that Rosenthal is the greatest of all technicists au important place in the ceremouies of the ancient ergy and inspiration, so that hoth parents and cannot be attacked. ·Such absolute perfection in Mexicans. A primitive form of dance rattle still teacher will share in the good results. That the con digital dexterity was never exhibited to au Ameri used by the Yaqui Indians of Sonora, Mexico, is certs are successful, is evidenced by the great inter can audience. Running passages in the purest made of butterfly cocoons, which are divided into est manifested in them. The following programmes legato ; trills as even and smooth as the trill of the halves and s··wed together at one end with a double have been presented: nightingale; runs in thirds in strict tempo; glis cord. Each half of the cocoon contains a grain or 226th Kunkel Popular Concert, (second concert of sandi that seemed to be fingered on harp strings; pebble. They are attached to a long cord, which is the season), W ednesclay evening, Nov. 23, 18!l8. chromatic scales that swept the keyboard; and wound around the leg of the dancer. 1. Trio-For Piano, Violin and Violoncello, op. above all, octave efl'ects that were simply wonder The only instruments of metal in the museum col 59, De Beriot. (a) Moderato. (b) Adagio. (e) Ron· ful in their rapidity of execution-these were the lection of Mexican antiquities are bronze bells. do-Allegretto. G. Parisi, P. G. Anton and Charles manifestations of Rosenthal's pre-eminence as an These appear to have been in general use by the Kunkel. instrumentalist. Vivified as all this was by the Mexicans before the Spanish conquest, and they are 2. Duet for Piano-Il Trovatore, Gmnd Fanta bravura, the virility of a firm. masculine mind, often found figured in the picture writings repre sie, Melnotte. Iutrocluciug Soldier's Chorus, Home directing an equally lirm masculine touch, the effect senting the various objects which the Aztecs used to Our Mountains and Anvil Chorus. Charles J. was tremendous. It was a triumph of mind over to pay as tribute to their sovereigns. Kunkel and Charles Kunkel. matter such as is seldom seen even in these clays of Whistles were used in Mexico and Central and 3. Song-Grand Aria, from Somnambula, Bel human victories over physics. It is true he aims at South America. The whistling mechanism in all lini. l'\1rs. A D. Chappelle. the use of manual dexterity purely as a means to is identical with that of the modern flageolf't, and 4. Violoncello Solo-(a) Amlaeht (Devotion), op. the end, but the brilliancy of the physical work the only distinction that can be made between them 50, No.3, Popper. (b) Reigen (Ring Dance) op. 50, certainly overshadows the intellectual and emo is by classing the instruments which emit only one No.4, Ib. tiona! expressions Of this more can be said when sound or note as whistles, and those which have one 5. Piano 8nlo-(a) Alpine Storm, a Summer Idyl, he has been heard oftener. He played a concert<' or more finger holes as flageolets. The smaller in Kunkel. (b) In Dreamland, Valse Caprice, Bloeser .. by Schytte. This composer is a Dane, who writes struments are mostly grotesquA caricaturPs of the (c) Satellite, Polka Caprice, Alden. Charles Kunkel. simply and effectively. The first movement is bril human face or figure of animals or birds. The 6. Violin Solo-Carmen FantasieBrillaute, Hubay. liant, the second recalls the Scandinavian school, larger instruments are more llke the moaern G. Parisi. and the third is a Liszt-like piFce of work formed flageolets. A figure is shown carved in marble. It 7. Song-Polonaise from Mignon, Thomas. Mrs of a succession of almost impossible technical has six round holes, the lower end being carved in A. D Chappelle. problems. Then came two Chopin numbers, imitation of an alli!zator's head. It is Professor 8. Trio-For Piano, Violin and Violonce1lo, op. sweetly and deeply interpreted, an extraordinary Wilson's opinion that the antiquity of the in~tru 49, Mendelssohn. (Two movements.) (a) Andante contrapuntal study on a Chopin waltz; two Liszt ment may not be ver.v l!'reat. The f~ct of its having con moto tranqnillo. (b) Scherzo- Leggiero e Vi r·ompositions, fiery and dramatic, and as an encore six finger holes, he. thinks, suggests European con vace. G. Parisi, P. G. Anton and Charles Kunkel. a Henselt gem, deliciously played, and a Fantasie tact. as in all other specimens of this class from the 9. Piano Duet-To the Chase, Galop, Mori. on the waltzes of Strauss, in which the themes were Western hemisphere the usual number appears to Charles J. Kunkel and Charles Kunkel. buried in a web of musical embroidery. These re- have been four holes. 188 KUNKEL'S MUSICAL ItEVIEW, DECEMBER, 1898.
Alexander Henneman, the well-known voice Emil Liebling, Lhe well-known pianist and coni specialist, has erected at 3723 Olive street one of the poser, played at a reception given by the Chicago best-adapted buildings for music teachers in the Press Ulub, and scored a great success by his artistic Erker Bros. Optical Co. West. Each studio is so und-proof, and the recital rend iLi on of "Hiawatha," au Indian legend for 608 OLIVE STREET. hall, which is fitted up with a splendid stage and piano, by Charles Kunkel. has superb acoustic properties, will comfortably seat Largest assortment of the best makes of two huudred and fif1y persons. The appointments Miss Carrie Vollmar's new song, "UniLed the Opera Glasses at very low prices. . Blue and the Gray," has brought her: many deserved Shell and Silver Lorgnettes. throughout are in the best of taste. Teachers have Gold Spectacles and Eye Glasses accurately adjusted now a most desirable and convenient Hall in which compliments. It was one of the features at the re cent reception tendered President McKinley. to give recitals. JONES' KNOCKED OUT BY LUMBAGO? COMMERCIAL COLLEGE. It's because you don't cure it with ST. JACOBS OIL, which penetrates to the 307·309·311 N. Broadway, St. Louis, Mo. seat of the pain and subdues, soothes, cures. THE COMPLETE BUSINESS COURSE, Short Hand, Type Writing, Telegraphy, Elocution and English Branches Thoroughly Taught. Many a woman is so exquisitely Students may Enter at .Any Time and B•Zect such / ·~organized that the strains of Sh GRANDEST AND MOST COMPLETE STOCK IN THE CITY. P. S.-Mail Orders are answered the same day as received, and special attention is given to k5lgAl~~~~ accurately filling them. SIXTH, OLIVE AND LOCUST. ~~ · (Formerly.) ·~-~ 314N.6th The "Crown" Piano, the one of "many tones," embodies the highest attainments in the art of Piano making, and is in accord with the best ideals of piano construction. The ''Crown" Piano is strictly and in the fullest sense a high grade piano. It is not surpassed in any way by any "single tone" piano. It is all, and has all that will be found in any other high grade piano; and, in addition thereto, its many-tone capabilities give it range and capacity above and beyond all others, doing away completely with the objections to the ordinary pianos, because of the _monotony of their one ''single tone." Its multi-tone adjustment does not complicate its construction, or in any way a ffect the quality of the piano tone except to more than double its life. It is an essential part in the construction of Lhe "Crown" Piano, and is built into each and every" Crown" Piano made. All of Lhe various tones and tone etrects, aside from the regular piano tone, are produced by it. No other piano has this multi tone adjustment; no other piano can haYe it, because it belongs exclusively to the'' Urown" Piano. The great varieties of tone, tone shading and tone effects produced by the "Crown " Piano, give it Lhe greatest and most varied capacity of any piano ever made. Any person who can play in the ordinary piano tone, can quickly learn to ex ecute in the various tones. The original and exclusive attributes and capabilities of the "Crown" Piano in iLs piano tone and its other '' many tones" charm and attract all pianists and vocalists who hear it. It is much more pleasing, enter Copyr11lhtedl89B, byO•o. P. Be11t. taining and satisfactory than any "single tone" piano can be. The confidence of the manufacturer in his prodncL is evidenced by his ten years warranty, which is" burnt in the back" of each instrument. Ill us· trated catalogue with music free. GEO. P. BENT, Mfr., Bent Block, Chicago, Ills., U. S. A. 8 GALOP CAPRICE. Vivace J - 138. 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I -0- -6 ""' t Peel,. t Perl. ~:< Perl. 1512-4 Copyright_ Kunkel Bros.1898. 6 4 ...... _ _:;_., ~2 ~~ ~ . ~ ~ ~--. 3 ~I 2 2 !' ...___ , it. ~ - .....____. . -~ ~ rF - ' ·- ~ ! J ! J ! ~ ,.. -?- " • -· ,.. II> _ - 2 .. --- -· ,_ ~ 3 2 ~ ~ s, ~ ·~ ,...,.... ~ - • 3 ~. ~ k t.-- ~": ~ -.::::__.: !' ..... ~ rl' - t .J t J t J ~ . '! • • .... I 10 I · __ I 'OS 2 .. Pe4. PM. # --- ~ 5 4 4 4 4 3 2 2 2 _1 •• 3 t .. 2 . 4 2 2 •• . . . . . • •• . . . t:. - - • .;;;;! - - ~ I - . I • 0 ~ ... - 4 '"' • .. 2 - 3 .... Ped. Ped. ·~ Pe4. Ped. .... Ped. 5 4 ? 4 2 ... 2 1 •• 3 4 4 2 3 2 . . - . . •• . t. I .,.. + . I • n I 4 '2 • 2 .. 2 Pe4. Pe4. Pe4. Ped. ~~: Ped. Ped. + 2 Ped. 1ti12- 4 5 2 II . 2 3 a-- -. 3 . 2 -. ~~ -...... I ~ . _._ • ~~~ • I 1 I < · ~ =~t ~ ~ p ~ . t I 'I ·I :f I - • tn . . v c;. 2 •a -, •2 • :1 • • :1 • •2 6 5 6 6 P114. Pe4. # 2 3 5 3 5 l'l 4 3------2 2 ~ 2 ~ . _._ I 1, -r . l ~ ~ ~ • ~~ $ •• :# ·p ~ I ~t if,t . t J, . - . ~ 2 j::J..._ 3 ~ 2 • • :1 • • ~:1 ! 5 5 1'114. 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Nocturne. 70 in11ure a refitted and IJcholarl.lJ rendition of the piece, the artilitic u11e of the pedal ali indicated is imperative. Hans Mettke. Op. 18. Andante 66. ~- P · 5 ....--;- 1 2----,_ .j IJ ' 4 2 ~ - ~ t.. • , • I- .,. fJ/ -:i~ ...... +...... 2 ~ r~---········· · ·· ...... -f.- ~ . ======k I') ~t. "1 l 2 l 5 4 .....,,,_ I) 5 5 Ped. ~ Ped. eantabile. 5 4 l~~ .j~ 3 1-1 4 .') / • ,. iiil -2. ' . . . .. r f) - = 1~-.t_: ~ - -== ~------~ - ~ ~~ ~~ ,. f- ,-;--:--.,. . l~~ ~1-- ~~~ I-.,. - ~ ....,j f'_ i 3 " 3 5 - a -l ~ ... ~ ~- ~ ... w Ped. l 2 ~.. .. Pe4. Ped. :;~ Ped. lfPed. 4 ., at\ 3 21 :--;--.___ 1 ~~~ II t 2~4 1 :> Ill! . . . 2 , • - ' • I .. ~ ~ I -...._ )_ (: ~t- ~~ I ~ 1-, t-~ ~ ~-f;- . ~ ~0t r: - .-'!'! -3 ~- 4 ~==:-- 5 4 -; 2 .....H2 Ped...... 2 .. ~~ Ped. Ped. ~'<- Ped. ~;: Ped. Piu mosso .j 3 1 5 3 2 1 .j 4 2 .--a- 2 l 5 ~ 4 .j 3 2 r ~ t 2 2 l !I 2l .j 'I ' ~ I • -· . . . - i __----- . . ~ I ~ r >-- "if . - ~, - ~!: ~,_ 0-~ . ~~~ I~ t-~ ~ r -IIIII!!! . -3 4 4 2 2 2 -3 2 l - --:i ~ 1 liiil'- 2 ... u n .. n 2 Ped. :.,: red. ..,,.•~ r'ed.l/Ped . 1.''51/1 - ll Copyright- Kunkel B1·os.1898. 4 1 3 2 :1 3 2~ :1 I . ..,... 3 4 3 II ~ 3 .. .. ! !. 2 . . ~ . ~ i ==--= ~ nff - - ~ I~ ~-~- //- . a~ ~J~ 5 4 ; 2 ~ ~i 2 l 2 3 2 ...... :'~ - ... ,. Ped. Ped. -,,c Pedm- Ped. ~. •• Ped. ""~•''"' PH...... :1 2 ··~ ""~~- Ped. :;:~ Ped. P~. 2~3 II I 2 ! 4 3 H~ 1 ~? . . . .. ~ .. - ~===== - i !-! . Ill ------~ ~ P~0:f- ~+- ~i ~ . ~ ~ .,. - r::-::-~ r-- [;;o' ,.. V"- fT 5 3 _. -a lijijl'... 2 2 2 ~.'It Ped. :1 ~--- l{Ped. Ped. · ~ Ped. 5 I) I 4 3 2:1 4~1 I .. V" ~1 4 4 5 ....142 Ped. .. .. Ped. ~it ---·Ped. w Con anima. 5 4 . fJ I 3 • .. - 3 ~ 4~ ~~~ t. ' ~ tif -- -)~ ~-(I- )0 ~ )J~ ~ J. ""' ~ ~ l:;;i!" ~ 3 - ~ a 2 3 -Ped. ~·... .:::lee~ ~-1: -a 'I(' Ped. ..,_...... Ped ~2 -- - Ped. Ped. 4 35 4 2 2 4 I :1 2 :f. j. . -fl- :1 2 .; ~ 4 3 ~ • ~ ----- t.: ~ j)~ ~..,.. F- ~1!: ;-:-;: l~ . ~-:-::" ~ ~ [;;o' ., :1 1 2 2 Ped. - - .JII..r - Ped, Ped, ,,_.- J.JWJ-8 3 3 3 2 3 .....~,,_ .... Ped . ,,,... ,.,. ...~,. ... ~) Ped. ..,, ... P«l• "''' Ped. 3-t 3 l 4 3 2 .,_ rit. ~ l 2 't t:. + 2 l -~~ " 5 a '------. . . t... IL (~ ... ~ ,~..,.. . ~ /- ,. I= . '- .. 1~/- :t-•1 ._ l .. +f- ,_ ~+ ...... -a f"_ IIIII!! ' - ~ - 4 jillll'j" Jijiiilllllj 2 Ped.:;:: P«l. ...,. )":. " "h' Ped. Ped...... l 2 Ped.:;~ " Ped. Tempo I. 2~ 4 2 ~ l 2 · .. 4 r-i l ~ ~". . .. ft... (~ )~.--= ~----- ~ p~~ - ~~ ~ ;---...... ~~ ~ l~t - ,. - ~+- ,~,_ ~ .. ~· ~ ~ r a .. "-.. 3 ...... , 2 -3 - ..... Ped...... l- 2 ...... 2 .. - ~:~ Ped. Ped. /fP«l. .; 5 ----;-..- 4 )- 3 l 2 · )l~ • .., 3l~ ~ l ~ • :?.. • ~l. ; rn:.__., t... .. -~ [t-.. ·· r I ( cres. ~ ~,_ .--.----. ~~~ ~~ --::---..._ . .. I-t • 1!- I= ~~ ~~,_ .11 ~ ~ ~i ~ .. ,.,.~=: ,,.. • -I ~ i"J 4 a -l 2 f_ ~ 2 3 -.!!. 2 -l 2 Ped. •"•,. P«l. ~2- - - :(:~ Ped. ~Ped. 11513- a IW&U 8 ( SUSSE ERINNERUNG.) Rondo.' Hans Mettke Op. 20. Allegretto J_ 104:. 5 I) 5 I) 3 •2 3 :.! ~ j j l 2 p ·~ ,.... ·~ " r- ,..., ..... t... .------• • - ~ tif ...... _ l:.-- ~· """":i- ~ (--- . -. • . -- . . I D, I 12 ra I"' t cantabil~. 5 5 6 a 2 3 f,_.' 2,_. ,....., 2 ~ ~ ,..., ~ • • • • -- -- ~ . :....-- ~ b• k.- ;;- . --- . + I· . 13 f> j 5 2 3 3 j l ~ l ,. • • • ~ .------:- .. 4 ~ f ... . t... ~ ~ - --} 1-f,. ~!J ~ · '1 ~.J. j '1 l . :r:.· + !: ~t. +· ~ . . . cre~Jc, I 4 ~~ • f ... 3 .. 4 3 5 ..... 4 2 ' a 4 ...... t... :=--- - ~ =-- - · '1 ~J '1. '1 .. j) . .J> '1~ r JJ '1J, _ j . . J J • D . ~ 'fsJ . ~~J . ~ . - jD I . I 5 4 ~» 1 ... "11". • f ... 3 f • 3 • 5----- I! ...... ~ - ...... ~ -} ·- . '1' l '1-J J '1 .. J .. .h. 't .. J l 'f!J_ ~ ~~A -=== . . 11 · I I" I I , 2 2 I 1lJ14- 8 OQJ!ur.Joht- Kunkel Bros".1898. 6 !) a a ,_ j l e ~ 1--'-1 ~ ~ -,....., .. ~ - - - .. • -· ~ r-- . _l~ -fit• • . -11- ~ ,- . . . ' . !2 ra I 't ./' cantablle. - !) & 3 2 2-,.... 2 _,...... tJ ~ ~ ,...., -- I .. I~ • "" • ) _,;-r- ~ > I J,. r--11- r ---. . --· "· I !) 2 ra r. 6 & 2 3 3 2 2 3 :1 ._ :1 ~ - IIi • • 2 ~ j~ J.....l r - J . 1:• -ft" ~ .,. -~ I+· t-~· ~.... _t_ - 1 f I;.- _; cre11c. - . il w P.. tl. Ped, P~. 4 ,...... ~~ 21 2- 1.1 ~_a :1 ~ • . I ~ ' - _t _f_ t_ ,; ;. ,~o,J: ,;. ~ . -- 1 f ::: --~:: . == .. ~ 6 Ped. Ped, .... ' ...... P~• P"". .,~ ,. 3 '1. -"- -- 3 . . .2. - 31 3 - I •;: I 't ~ ...... 2 , . ;o ; t: ~ · t 11 _l ..... II . . == t . ... • . ,. ;, 3 "' 1.-3 .... '" v Ped. Ped. ..------;- 4 fJ 11 ~ - 3 . 4 ~ 2 . --=------3 . - t) ~ r ~ . . . t.. #f .... -"* ~ • • • #~ ~ :: ~ 2 3 j 2 1 3 3 6 1.''$14- B 6 .. ------~----~------I) ·~1)~ ~ 4 ? tl j 3 I a t rs r 1$ '2 2 - Ped. Pet~. Pet~. Petl. ' 2. t 2 ~ 3 fJ k.;. b• ~.;.. 2 1 ~ ~· ~· ,n;-, ~ . -- . . . t.. - I ~ ..,.. 11 I . . I - - . . • • . . . . • · · ~ 2 I ·~ 2 I .J.''· ~3 ...... - =:::: Peel. .,~ Petl...... J cantoliile. - • 3 I) 5 5 2 3 3 ,..... "l l ~ ,.... ~ • • • • • , t_ - t-+ t· ...... _E . . h ..... ~. ., ~- _,;. t ~ cresc:-- - PH. a5 l j . 1':\ _,.4 f) ~~. ~ l~ ~ ..., lt...... l...J < \ p p . / . ..., b ~ ~ ~ ... I~ --~-ft.· ~ r Pet~. ~IW. - 11J14- 8 .. • 2 ~~ -~~~ FESTIVAL SOUNDS~. - (FES'rKLANGE.) Book II. S. Heller. Op. 45. F oco maesto so.-J- 100. 3 41: I \ ~(J. A!:-;: !:_ l 4~ f }~ 1:1: 4 ;:_ .. I ~ r- fz - 15. .t• tfz tf'z !~ jJ ~ t·... f -~ .I ·. I ~J~ ~ .I { .. ~ ttl ttl . ' .. I -~ - .. . ~ .., 4 ~ S: 1 a L • ...: 0 _.J •"• n.d.•,',~ Peel. Peel. ~~ c.,..,.,,a Cv --- 3 3 :1 2 li ~ I= 4f_ 1- :1 4 2 • • - . l - (.. • jJ_ .r ~ ~ .1' - .1' 1"fz !~z . ~ ! ! .. .. . ! ~ 21 -a .I .~ · -~ . 1 . a/ _!I! __:li ..v...... : ~ ...~ ~ -" Ped. ~~ ,. · Pee~~:: ·- Peel. 4 i 3 3 4l :1 2 ~ ~~ A-t_:. l .1'". _,__ t t_ 4l= I= 41 J :1 ~ f .... -~ rFz tfo p ~ f f pf: .. ·;: 1-:- .I . Jz~i 1 t"... !- !- ~ . • • t ! f a.J ~ 4~ ·i :i • - ..: - ...... 114 eel .... • .... • ?'' Peel. •:~ Peel.>:~ Peel • - Peel. -.~ - 8------5 4 ~=··•• !!": - -, • • II_ 2 I ~ n 2~ .. t .. l ~- r ..! tlz ~ • I !~z ~ l!~z ~ j ~ -· r/'z .. .L J~ 4 l:..• : J~ J . ~ ~ Ihi I - . ~ ~: • ---i- . . ~~ .. .._ _._.._, ~.:a- 'LI ~- .,. • ~ ~ .. ~ .. r ..: ~ - - - + =4 ... .::, --. . 1464-26 Copl}righL Kunkel R?•o.<{.J/Yft 3 Ped ;~.•" p,~ . :..~u ...-.....D-.:1 ·n•..-~ c.,..»-~. •·.• ~ Ped. -!,~ Ped. ~:~ dec?"es. ' ~ ~ :;~Ped Ped. Ped. · Ped. Ped. Ped. t :;~Ped. f ~~Ped.f t ~:•Ped 4 2 4 2 poco nt. 5i- 3 ~ 3 3 Ped. -}_~ ..... Ped. ·~Pea . 8-':·------... ~" 8 ---, _ ~...z n~l • 3 ~\ ~--~\ r/z ffz I .. ~---- . -:,;.. ... ~v 't.:~ ~ v u ,.. J.164 -26 .;;: P~d . bP~d . I'LL FOLLOW THEE. ICH FOLG~ DIR. Song without words. 1 Andantino con tenerezza. ~ -104. · 4 16. \ ----- ' 2 Ped. fJ \.~- -- . -.... ~ ==- 2 - t.. •...__.....•"'F ;iiiiiiiiiiill ·-- ~ ~ ~ ----=---- I~. ~n- .. 4~~..-n . ------f= ' ~·t ~.~. 1~ ~ . I~ Ped. Petl. Ped. 1. II 2. 4 l 2 I l ==~ ~- l"".lf'.- ~ ~ . . ·--.t· .1'- ;iiiiilll t.. ·-----· -{ ~ . il • • :.. r.. ,_ ~,.. rl r #.,. -.- - . . : . . ... 1 ...... :: . -z:; _,-..., "' ~ ~4- .. Petl . " 4 "' 4 ~ l. ~1'1. .. --a; ~ k... -F-~~- ~ ... 2:.~ .~~~ t .,. I '"i: .1'- /) liijiiiiill loiiiiiiiiiiil; -'... fiJ - IJIJ- ...... ~~ 2 ii I .= r= #~ . ~-~ = +t:_ _'11 f~ * - Petl. Petl-----. 4 Petl. Ped. Ped. Ped. ---- 1464-26 ~a 2 l 2 :1 4:1~ j d,t,- "' _Jl ~ :L. - t.. t"- -11 ~ ·------=--"i +____..nJI' ~ 4~~"/F p---- ~ .. P----.... ~·.L ----- l - 2:;- .. .. " ·- l a .. j 3 PH.. :;:~ P«l. ...-.,. ~ F-Jdolc~ 2 --- -41.) ~ P«l. P«l. ...... , ...... ~, .. ...,,_ ·?ell. ~~ P«l. ~~ Ped. Ped • :::• P«l. ··c- PH.. ..,"" PH-. II 1 2 ~ 4 2 f 4, 4 1J.l •~ :! :l l ~ ~ lv __..,. • ,. • T :J: f- --== HJ ~ 1 - ~ - _.. -~ ~ l -"' :: ~· . . ~·--- ~e: · ~ &/ r' .. j 5 ~ l ~a ~ .. 2 3 ~3 5 ~~ P«l. ..,,- 1464-26 . - ' 6 AT .EVE. DES ARENDS Allegro . . ~ -132. \ 2 .------;;:-- \ . 2~ ¥-- 17. 2 PetJ. Ped. Ped. 2 ------> 2------' > : .v. PtJd. PtJd PtJ&. .... !) ;:,.. 4 ------:--- 4 • ~~ ...... ! 0 .0.,..._ ... ~ k! ~ ------" t.. • ::- m.f .I . 3~ .~ ~~~ ...-~. I :::: Pf!d. '1''' PtJd. ~'* (~)5 PtJd. 4 II 1 t_, , • +•"~ ---- '---._ •*''T-:/*'T 4 < .. 3 ..1 r T""'! 2 4 '-...... ~' ""'· :2~.~- - - -i!• J • - ~· -jl+• 2 4 i 5 4 '1 t ·~1:~ 3 t 2 4 \2~ .> - ~ ...... +• +•u! " ' i ' \2 ------. ~ ~ I t.. p • • '-&------'-&-~ - .1' k~ 2:$:------. -. . I, .- r -- Ped. Ped. 2 ____..----;;:--, 4 fJ 1 2~ ~ .~),_.. - 3 - \ ...... "'~'·· ..... 4 ~ t. • liiiiiiiiiiiiii • p _,.------. .I rt~ dtm. . -&~- 3 ~ • 4~ - / Ped. Ped. Ped. Ped. Ped. &j Ped. ~~ Ped. ~::• Ped, :;~ Ped. Vivo.~ 4 ~ - 4 ..,...... •lt... ~ 3 ., ~ ---;--.~ .,. ~~~ . ... ;.. 0 ~~- .., • It.. I) ...... f ' - ·~ · _;:,. mJ - ~ . 4~ -! . --· ... ~ r-- Ped. Ped j ~·Ped; >- >- >- ,lt.. -'1 -- ~ -~ n~ - -1 - • p =s ~ "~- v -· ~ v . --:::::: r- . -&~ ··-== ·~ I I ~...... '1 ___.../ ~ ...... 41:._._/D Ped. .-; Ped. "'··~~ """'"' &J ~ct Ped. =-·~,. Ped. Ped. ~~ Ped. ~~ ..." . .... ~~ -- >- 3 I ------at ~ ~ 1:. ~~- .. ' • t.. t -~ • ~T-:j .1~ ~ ~ &'f ~ ,_ (2. (#-_• :l.,_,;t 2 I=:. "-...... I~ ...... -6-____...... -- ! ""''# ..u .. ~ - ~ "h"" Ped. :;~ Ped. ""''· Ped. ~-... ··~ 1Lr· 2 .1464_-~ - 8 MURMURLVG BROOKLET.. • MURMELl\TJJES BACHLEIN. Allegretto grazioso. J_ 72. ~ ~ _\! ~h J a_k ! ~1 J 1 ! f_k ~ t.. 18. ~- ~ ==-==== --======:-;>=; ~ ~. ~~ ~ . . -----• . . &.1 5 3 - PMJ. PMJ. PMJ. 5 5 fJ 16/ ~ '"1 i ~ J 'h ! K J _h ! h J - ~ ~ p~ ---:...... • -r • :::::::---:.~ ~_, . . . • . t.. _,_. l.-J li - -.) - Ped. :'~::- PMJ. PMJ. 5 3 .. ~-~ -·Ped. :;:~ lJ 8------a 54 \ ~ ~ 5 I '"1 ;. ~ ~ P3 ,J4-,J+. 1.. 4-. 1-#,J+t...... ~ • ... ~ t.. "/( p ==--- ==--- -- ..--.. ... ~ - ,\ ~ ~ · l:t 15 ~l ~ ~ 5-- ~- ...... ,~ 8------...----::::::::3 54 5 ------~ -r--\5 ' !4-J4- ,.4 ~ ~4-~-- I-#J4-J I ~~ ~ • !r3 ,J+,J+ •...... ----- ~·· ....__ t...... ::::=--.. /) ~ - =-- »d' =-- - ..--.. . ~ ... . - ,\ 3 4 "~..... Yo I& ~ ~6 r5 5J Pt!d. "" 2 3 ~ .J+JJ '.JJJJJ~.. -J ~_JJ.J.jJ 1..1 J..l J I ., 3 3 - ---- 2 OS t.. ~ 3 • < - =- p -1'- -- ~ · - .... . ~::v- &) ...... 1464-26 t 3 t 3 1 ---- ~ • '> • !I t t 3 t 2 - a~ ~ l t ~ ~ ~ i ~ ~ li.: ··4~ ~ FJ ~_,. . • - • I . ------. -.;! ,. 1- 1 2 1 r· ..u_ 3 __....3 ..- Ped . Ped...... ,.. - 3 Ped.1 ~ ~~ -1 i ~ j ~ ! ~ j h 1 ~ . t. - < ;¥1------.,. ~ . • ~. ~. l . . -~ ,. • 1...... 1 ~ v 11-· T...... J 14 3 ._...... ,. 1 -3 1 '"'": Pect. 3 Petl. -· Ped. 'h 4 A A ), ,a 2 ~ · . . 'l .2 t . ~ ~. ~.t ~ •1 t. A A A A ~ ...... -_. .:;..· 'l ...... ~...... ~· ~· .. iF..- -...... - ...... -~: ·············· . . -- ,.. . t. -f•L..I ,,,.... p, -::~~~ ,_... .,~; __....,, Petl. '"h""' lid. " Petl. -!'·,,. Petl. "'· Petl .... PM. ··· ·· ··•········· 5 l l• ~ ~ - -- -€ :r• ) • • ~ ~ !1 ~ .ljo ~ deCTes. li~ :- ~· r-- ~ ~ ~ . - -- T . ,. ~ ,. ,._. ~ ,.. ...J ,. I ~ ,-~~ ~ ~ ------;j 10 HUNTERS JOY • JAGERSLUST Allegro vivace. ~ - 120. ;t 4--.. =j :::> :::> - 5 4 .. , :. ===== • ··f-# I"" · 19. ~~ • • "1 ..... I"" 1"" .... I"" • ... - - -~- -.F - .1' ~ 11 -*- ~ - ~l' ..:: .... [ ... ~ ~ -=i .v... ~ ~ =ii =J Ped. .".. ="1 .., ....._____- "111 '{ ------...,, "11 .. Ped. Ped. ~~· l 2 - :::> ::::- ~--2 .. 3 ==------,... (.., '11...,; l , I....J. l , ' 1.. , 1..------, I"" • -• ~ p~ - 1 -.I' . A IM ~ + ~ ~ .. + .. ~- ~. ~ ~v. - Ped. -;'~ Ped. ... ~ Pt!d.------~ " ... ~ 2 ~ 3 2 It~ ~~ ,_ 2 IlL. 2 IL3 2 ~ ~ __ lliliiiiiii l ~ I~ -~- ~J- i- - ===f -;---,_ ,_ ~ -:£~ i . ~ :-~ t.- t f ~ .. F- ~it- I" ·~ t=. -- , ~ I'-_ ...u ... Ped ...,- Ped. ... Ped . Ped. ..._"" -;,..... "'h' ~ Ped. ;•; Ped. ------" 2 -1 P~d ~~ .... ~.. Ped .... ,... Ped. ?ill'"" ~ .1' .1' 4 Ped. ~:~ Ped. 8----, -- 2 4 :1 _:=-;---...__ 1-t j\ It i .. 2 ~ It 4 • --,--- -JI!: -1·:;\f:---t- . .., rfz ~(.., ft. fl.- ...... ,_ .ff .... I V ... .IJ 7 1- 1- -:_ ...... ;.-. ,__ ="'J . --r/:' ... .. •' ..... n ~ • r.FM- ...... ~ 4 - . ~ .. i ::; ~ "' -l - . 4 i 4 -, =; :'~,, 1464-26 Ped. IN THE COUNTRY. 11 AUF DEM LANDE. Allegro vivo J -126. 20. 4 \ s"m/11I ~ J,f ~ . ,----..__2 "'P. -4 4 ; I ' 4 1 3 2-- i . . -!•..!: . I"---., t... II + .., • 1 ~ '"--.1 ~v '< . -vi i u. ... ~ ::; t + + + .Jll 7- ":j. =i #l ., ~ Ped. Ped. ~ ~ed. =-~.. 5 4 5 4 5 5 2 oj 3 4 ~Jtl ...... _.,.__1-_ "--....II_ p -4 .I 4 J I )i , . . t.. v ... :::i ~ . ~-·-FJ . --- ~ ~2~ :i_! . .., ~ ...... + ...... 1 ·l ~l ==4 -t Ped. ?'"' Ped. ~-"·=1..,. red.n •··~... 5 4 3 5 J,f~ 31 4l - I T- 4 " 3 2 3 1-4 4 2 1 4 5 " ... t.. ~·-- ~ /~ :i~.. 4"~' '--."1 ~ ~· A] »} ::;v C=J u. I~ J . ' ,_ , ...... 3 ...... -.. •-l + .... Ped. ::::: Ped. Ped. f.: · 5 4 < 4 ~~a I- 5t " 3~ 5 4 . • ' ..j. ...__...... __ ... , ,_ (.. ~ • + • . #1_ - - #1 _....-:__ ~ »d'. . -· • • • 1 J r J [ r r r ... r r r ..I...... I Ped. ,,. ·~~ - -.. 5 4 5 4 5 4 ~ J,f ~. ._ ! .r-5 5 4 5 4 5 4 poco 1'it en . t... L J. 1 '--i \.:t . \;t a tempo. ~ '. \..:j \.1 !l~ :J f . '~ - /. /. . - /. - ~ a• ~ ' )1- 1) z 3 2 .... + .... + 1 1t/t ~ ~ ~ Ped :":,. 1:./ -- 1464-26 .. ... 12 4 1 3 ,-.....___.: .. J \ .1' 2 A 1 IL + 4~ ~ Ped. ~{c: 1 ! _..,.. .-.... ,-----_4 ,.----,.._4 rb-4Jif- . " . II - .. ( ~ . - I+ ::: ~ ~ 'i ,+ ~: ~ ~ • p p . ll ./' ::; :; ~ :; :; ~:; #:; = ~ ~ = ~ ~ .... l "i Ped. ~"· •• -~ j J,l d 5•-...... 4 4 • 4l " . ~' 1Ft ~~ ------. . . ..Ill. I . • It ...... I ~· .. p ~ ~ ./' p----- ll -·: ..., -=ii ~ .. =i= ~1 ~ = =... ~=i -- ..,.u... 'j•·-·~ Pt!d, :'~:,. Ped. .,,...-~ Ped. ~.,,:.. Ped. ""'""'..,. Ped. .,.. Ped. '""' 5 4 3 1464-26 UJ 4 3 2 4 -;;; ;.....4 .d~ H ~~------h I .. l r--4 ~~ 3 2 I (..., .. • ~ .'-JJ· =: ~ -- 1J ~ iT ..~~ .. • • • ..~~ ..... -. ~; . ~ ... + 4 -# 4 4 , -._, ., 5 3 .. 4 :J 5 4 r--~ :...... ~ .di lo. .... :, ~ ~ • . """; ~~ -2 -i,; - · ·-:-~ I . r --.....___: • • r ~ 0 »d' . •.u • • • I . ------r" ...... , ::r = :.., ,.,,_ - Ped. - - - 2 3 ! 2 4 ., 3 1 2 ., 5 .. ~~---., 5~ l '-i •; 2 l ~---2 2 J 4 :Jr 3~a 1 2 ~ of': . . t::; • ~r - r ~r .. ~ ~ I!---__ --...... - .. ______...... - Ped. :::: 0 • - Ped. Ped. ---- &empre. ltUUft1'0. 2 4 5 4 0 rr~ 5..::::- 4 z .8 :J 2 l • ...... , t.. ... Qr ·~ ~:"!_/' < ~ r r r ~ . 1.1 I ' ... 4 ...... ~------~.... ~ 2 :J 2 l .. ,_ t. rl~~ 2,.-----. • lr ~ ------.t.J '11 i:-i -T/ ~4 -1~ 7 p p I I _,t-.,_1:- p_ :'II'T• ~· ~___..., ..... l 3 2 24 -# ... + 1464-26 ·~--...! lCH WEISS NIC/1'1' W.4S DIE URSACIJ. IN'.P Words and Music by I. D. Foulon Chenfld. . J . I ~0 A~ =H i-.J 4 ~'>-~ th ,... :1 2 .. ~ ~ •I 3- . . :!------,-- 'V ~ t:...__• - • ... + i ., ~ •t• -.....:::..... J --· ---:i . __,..-6- - ~- +-· - ~- I' I lt•h Wei8.~ nirht,Wa8 die U1• Nm·h' f.-;t, Ob •.-.:f'lwn d~tfenl, dod1 bt:i mi 1· bi.... t, t:ud__. A~ 1--1- ~ · l !'--.. --- ~ . --- . - • .._; - - ...... - I - .I --:l-- - J. din. na ken the rea. son 'vhy, But th9chts. J tht>e they win. Ill\ fly' U1· ~.10 - I I I - ·- -x-- -6 + G. .. • • ~"' i i / + i • - . I I . I r "'?; I "ii "ii "j rlenk' it'h um·h mul. nit·hl an dit·h , t.;leit·h u:te. dn• du wn. Nrhwe. be81 mit'h; So ...... , ,...... A.u - ~-----:---- I ~ - ! . _": ...... __., ._) . - • :1: ...... - ·gin a ·- wa they gang a wee, :Fun SUlle a - gain they come tat~ nte. As 4 - ~ - -- . r--::; r-- . - -_) Gi ..; : i. i$ ~-~ ... ~-~ ...... :J • .. -4 -t - . ~ I . . --+- ...... I" ::::!:' ::; ·• I . "G 7 ~ &93 - 3 ' .. Copyright_ Kuukel Bros.J.883. .1vie -!t!1t m Land. see flu ....· 81 de1' .Bach, Ge • dan. ken mein nm• diP · gehn nach. Du , A'.u flllll'll-l ~- ..;;;;;;;;;;-- I I I ii-t ·· ---. . - ~- - ...... __ . t..J • ...... __ - r .•- tae the- loch, Sae flows tae thee mine ev 'ry ..thocht; Thou rins the bur • nie ·-- . ~h I ~ • &.1 . I~ ~ i i i i'" .. 1 • • • • • . I i 1 -a 1 . 1 /list so Aii.s.41, so lieiJ. lft•h miP, DPltm e • wi{f mei • ne .l.. ie - . be dil•l ..-;-- / ~ ... .--;- -.f"':'' .,...... ,_ . --- . . . .. - ,-.1 - • ._..,.. I "'--• · art sae bon • me, guid an fair, ---Thee will I lo'e for • ev · • ermair. ___. ~1 . . ·~ G • 11 • ~ ~ :t- ...... • ~ ...... · i ...... f . f . . " ...... • I \tl P«<. 3. 0 Lieb.chfJn hold, soli~.., nichl so sein, na.418 2. JVohl An. d're hab'n 'ne Ste'l'n wie · tilt So ~.I. ~ . ~ ---' ·- ltJ • ..,. . 2. Aye some may hae as brent a brow, .·As··- 3. Ah las. sie, las . sie, blithe an' f1·ee, Thine --a !)--.. ~.u,; . 6 flllll'll-l .... ' lt.J ' . I r • -4 .. ~ i 1 + i ' '* tl . .• . • "Z • Red. Pea. itf. d1t• bi.-;t *mein, ·und it'h bin deinl :Jiein Le. bens.stet•n, mew Hi1mnel.-;glun~, Ninnn ·weis, lieb Aug• b>ii.8s .:.llund da • Z'lt, Und lieb.lich Lii • cheln aud1 du • bel, A:Cit ' I 1 ,...... ,..; ~ ...-.. A.u ·---. I --- ...... __ - ') ~ I . II ..,...... heav'n • ly een, as sweet a mou; An' some may hae as bl'ight a smile, A ~ a in true lnYe wilt let me b e.l J. .. ife o' my life, soul o' my soul, Tak' ~.10 I I . -_.l c;; 2-i- • • • • • i- i:S: ... ~ i I " i ~· :::"!1.. ' ·' . 1-oi"' _,. --. 1! -t 1 ..... • ' hin mein HeJ>z ich gel/ diP~~ gan7.; Doch dc:t ich: heJ>z .lt)8 nicht kann sein, So ei • nem HeJ>z.chen ZaJ>t ·und tJ>eU· A:u;chschonwie du . sie . mo gen sein (Doch . .___ . . ; Jh I ~ , .-111!!!!1 · ~ ....---· ----- ~ . . ~ - - .....___ ...... _ [i:J ...... ;../ - ...... -;....- - heart as true an free fl'ae guile; An' some may be as fair, I ween,Though thou my heart, I gie it whole; But heart.less sin I can. na bide, Gie Au I c:; I.J + • ...... i t i i i J ... - .. ; . ~ 1 :4 ~ gieb das dei • ne miJ> al • lein. Dtt ·un. a1.t8• 8P1'ech.lich theu. eJ> mi'P, nie icfis fin. den· · konn. te, nein!) Denn d1t bi..•·tt un • veP. gleu·h.lich mit: ,....,..._ A.u I I ~ ~ . ----- . r "'---- .-....!L...--•• - .. I I.J . • :r .sic. 1 ve nev. er, nev . er seen; But thou'rt tae me a .• yont com .• pare, Thee-- me thine heart an• be my bride; Sae guid art thou, sa.e de. bo • nair, Ill' ~ A.u I I . ' 'IV i-.J 1 • 2 .. i.,. ..,. + • • ' ' ' • l + ~ ~ 1':\ I - ~- . ' !" .,. 1 1 1 -,;. 1 • I . e. wig mei. ne Lieb' mtJ> di:Pf e • wig mei • ne Lie • be fb'J>! A.a . ~ ~- - . . IV ~ will I lo'e for . ev • er.maii·. lo'e thee weel for . ev • er.mair. ~ . A~ . _.....-- 5 5.=- . . ; . . 1G -- . ..; ~ 1---' -t ...... i ...... • • T/ • .. . .1' . .1' • • . . . '2:• I Ped. p.,_ . 'lk Ped. • KUNKEL'S MUSICAL REVIEW, DECEMBEH, 1898. 189 CHOPIN AS PIANIST AND TEACHER. me to take as preliminary studies, the A minor con One careful investigator has estimated that 179 certo of Hummel and Moschelle's Studies. (Chopin concerts will be given in New York this fall and The following excerpts are from i'ecent recollec played the third study of secondoook with wonder winter, accorclmg to the present announcements, tions of Chopin from the pen of Georges Mathias, ful mastery.) which do not include a number of others that are who studied with the composer in Paris for five Once, when Chopin was ill, we were received by still to be he!l.rd from. These will possibly add a years. The translation is by Kathl~en C. Thorp, for his pupil, Fontana, who played to us the master's hundred more'to the list, and the opera perform the Record: first Ballade which my father-who was an excel· ances will also make their bid for the patronage of What shall I say of Chopin as a pianist and lent musician-and I scarcely understood. Chopin's theN ew York public. And then they talk of •' musi teacher? As a pianist? All those who ever list music, in those days, was looked upon as the Music cal atmosphere" abroad. ened to Chopin's playiDg can testify that they never of the Future, which will certainly seem strange to heard anything even approaching it! His playing the young people of 1897. Verdi, who has permanently taken up his resi was like his music, and what mastery, what I remember the first Irnpromptu, opus 29 (Schles· dence here in order to superintend the final estab strength ! The latter. it is true, for only a few bars. inger), the Sonata with the .Funeral March, the lishment of the Home for Musicians founded by What inspiration! What entrancing magic! The second Impromptu, ·the two Nocturnes, opus 37, the him, is again credited with the composition and whole soul of the artist seemed to live in the instru second Ballade, etc., which in 1840, at the time of near completion of a new opera-" King Lear," ac ment, and every hearer was filled with a sort of the differences between Chopin and Schlesinger, cording to some, but'' Nero," according to other iu solemn awe. The instrument on which Chopin appeared atTroupenas, in the rue Vivienne But formants-Arrigo Boito being the librettist. The played has never given forth such sounds again! I there was no sale for all these, and they remained score, report adds, is to be submitted ere long to a kno\\: but one artist whose poetry, expression, and on the sheh-es ofthe publisher! circle of the veteran composer's intimate friends. quality of tone remind me of Chopin. But I shall Another time, when {;hopin was ill and likewise Leschetizky, the piano teacher, governs with uot mention his name. Confined tv bed, he WaS, kind enQugh to receive U3. In the presence of women, Chopin surpassed him On the table by his bedside, I remarked the ''Car rt1les of iron. He charges live dollars a lesson,and self, and if they possessed a title, that was no disad nival," of Schumann, in Breitkopf and Hartel's first the money must be put in an envelope and laid 011. vantage; on the contrary! He was positively in edition with an i.llustrated title page. My father the piano by the pupil when he or she enters the fatuated with the aristocracy, and who would wish asked Chopin what he thought of it; the latter an room. We have some teachers who would like to to blame him? This predilection was a consequence swered with extraordinary coldness, and as if he adopt the same rule, but, unfortunately, they are of his thoroughly refined, thoroughly gentle, and scarcely know the composition. Tnat was in the not Leschetizkys! . loving nature ; he esteemed elegantly dressed year of 1840; the "Carnival" was published in 1834, women, white hands, and rosy fingers! There but, as we have already said, Chopin not only out I wish to endeavor to make it clear to the non could scarcely be anything more beautiful than this wardly conveyed the impression that he knew noth musical reader that all music is a matter of ex circle of aristocratic women for whom Chopin ing of the opus 9 of Schumann, but did not evince pression in sounds, whether by voice or instru played. A veritable Decameron which he rendered the smallest desire to become acquainted with it;, ment, and that nothing deserving the name of immortal thl'Ough his dedications. The artist and He was as classical in feeling and sentiment as he music can possibly be produced by ignorant peo· his hearers were of equal birth. was romantic in phantasy, or rather, he was noth ple grinding out sounds by mechanical. means, says This gifted artist interpreted Mozart and Beeth ing of all this, he was simply a great genius I a writer in an English paper. Every time this su'u oven with the soul of a Chopin, and that was ln the highest and fullest sense of the term, ject is discussed in the public press, there are some glorious. wonderful! He did not belong to the his Chopin was a simple man ; not by any means simple dunces ready to come forward and assert, with a torical critical race of pianists, though by this one in mind, out simple as regards criticism and liter show of virtuous indignation, that we "are trying does not mean to infer that the latter are wrong. ature. He was neither so widely read nor possessed to deprive the poor of their music." Taste, knowledge, and technic are in themselves of the many·sided interests of a Liszt or a Berlioz. The fact is that no inltuence could be more vul much; out geniuses are unusual phenomenal He was Soul itself and not Psychology; the psy garizing and more vitiating to the public taste than Touching his rubato, I must beg to be excused if chologists anatomize all the indivi1lual motives of a the grinding of common-place and threadbare tunes I linger somewhat longer on the subject. Rubato soul, but possess none themselves; they are but on a barrel organ. It can have no educational is a sign which was already used by the old mas skilful surgeons. effect but in the wrong direction; our public is one ters-Bach and others-and which, by means of al Notwithstanding his friendship with George of the most unmusical in the worltt by nature, and tering the tempo, is one of the two factors that lead Sand, Chopin remained a stranger to all literary the barrel organs can have no effect but to aid in to music expression. Alternation in tone and tempo movement. He read little with the exception of keeping this taste at its present contemplated level. is as necessary as when in rhetoric the oratorraises the Polish poets, as for instance : Mickiewicz, a Secondly, the system encourages and keeps among or Jowers his voice according to the feeling with book of whose poems I always remarked on a little us a set of men who are merely idle loafers aml which he is inspired, accelerating or restraining the table in the saloon, ''Marya Pan Padeusz." For vagabonds, common beggars, with the additional flow of expression. Rubato is then a shading of the Chopin was a zealous patriot, and all his money power of creatin~ an intolerable nuisance. A man tempo. It embraces acceleration and retardation found its way into the pockets of Polish emigrants. who plays a clannet or a cornet-a-piston in a wind of the speed as well as impet .• osity and tranquuity; Often I have had in my hands Chopin's manu band, though he may not play very well. must but great moderation is required in the exercise of script of his second book of studies which he dedi nevertheless have acquired some small modicum of I this mode of playing which is only too often mis cated to Comtesse d'Agoult, mother of Frau Cosima musical knowledge,and have given some little pains I used. When listen.ing to the interpretation of Wagner. A small, neat, delicate, and very pretty to learn the manipulation of his instrument; he is, ,I Chopin's music, one is constantly annoyed by the musical haDdwriting. As Choyin often received therefore, in quite a different position, in principlP exaggerated use of the rubato. Tl:is is the fault of his friends during the lessons, once heard Mon from an ignorant boor who merely turns a hand!~ most dillettanti and, alas, also of many artists! sieur de Parthuis, Adjutant to Louis Philippe, say to produce mechanical noises; he is, in a humulc Who is not familiar with the grotesque mirror to him: "Why do you not write us an opera?" and and imperfect way, exercising a craft. The organ which reflects an image so distorted that one cau Chopin answered: " Ah, Nonsieur le Comte, let me grinder is not; he is a lazy and ignorant fellow who scarcely refrain from laughter ! The exaggerated keep to my pianoforte music, that is all I can ac prefers to be lazy and ignorant, and who takes to rubato gives me exactly the same impression ! complish!" this handle-turning ratfier than apply himself to Chopin, as Madame Camille Duboif so rightly re Chopin possessed an exceedingly small foot and honest and useful labor. marked, expressly required that the accompaniment loved to enclose it in sleek leather boots. I have for the left hand should be played strictly according never seen such glossy boots since! His coat, ever to time, while the right hand with cantabile part cut according to the latest fashion, was always but Max Muller, in'' Auld Lang Syne," tells how he glided smoothly on over the bar with all freedom of toned closely to the chin. He carried himself with met Liszt at Leipsic, and gives the following inter· expression. And that is easy to attain. One accel extreme elegance, and one was compelled to think esting account of the meeting of Liszt and Meu erates in advance, and again slackens the speed, on each occasion that he wore a perfectly new suit delssohn: Liszt appeared in his Hungarian cos the apparent irrt>gularity of both hands being of clothes! tume, wild and magnilicont. He told Mendelssohn equalized in ensemble. This mode of playing that he had written something special for him, and Chopin ad vised, more especially for Weber's music. Brignoli.-The silvery voiced tenor, was asked sitting down, played first a Hungarian melody and It seems to me as if I heard him to-day; not alone by the late Father Henry McDowall, of New York, then three or four variations each more incredible for his own music has he often recommended me to sing in St. Agnes on a fete day (the Saint's day, I than the previous one. We stood amazed, and after such a mode of execution, but also for Weber's think). Brignoli, always obliging, agreed to do so. e1·erybody had paid his compliments to the hero nf compositions, as for example : the Sonata in A fiat Aware of his dilatory habits and forgetfulness of the day, some of Mendelssohn's friends gathered major, and also for the passage in A flat major, in engagements, Father Henry asked me to go to the near him and said: •' Ah. Felix, now we P.an pack the Concerto. Everett House and fetch Brignoli to the church. If up; no one can do that; it is over with us. " 1\'Ieu We shall now speak for a moment about Chopin I had not gone to him, I am quite sure that Brig· delssohn smiled; and when Lis?:t came up to him as a teacher. I can still hear his "Excellent, my noli would not have arrived at the church until the asking him to play something in return, he laughed angel!" if anything went well, and can still see how service was over. I hastened his valet in dressing and said that he never played now; and this, to a he ran his fingers through his hair if anything did him, Brignoli submitting like a big overgrown bo)'. certain extent, was true. But Mendelssohn sat not go accor~ing t~ his mind. On one o~casion, h.e It was his custom, on leaving his room, in the down and played first ofallLiszt's Hungarian melo dashed a chan· to pieces before me ! It IS true, It winter season, to wrap his neck in a large woolen dy, and then one varietion after another, so that no was only a wretched straw-bottomed chair, such as "comforter ." Before leaving his room he would one but Lis7.t could have told the difference. ""'c might still be seen with artists at that time. make one wrap abont his neck on leaving his room all trembled, lest Liszt should be offended; but l1c But what magnificent penetration into the spirit and another on each tloor as he 1lescencled, com laughed and applauded, and admitted that no one of the composition ! What wonderful mastery in pletin~ the wrapping by the time he encountered not even himself-could have performed such a his power of elucidation, and of rendering the com the ch1lling air on the street. bravura. position intelligible! As a means of expressing the vVhen we finally arrived. at the church, the ser Never was there a composer more conscientious· poetry that was inherent in him, Chopin's language mon was in progress. Brignoli was motioned to a ly fastidious than 1\'Iendelssohn, never an artist soul was as eloquent as his music. It was poetical as chair reserved for him, 1eaned with his arms on the more racked with morbid thoughts of his work's that of a poet. At one passage, for instance, in eluow rest and endeavored to attra ~ t Father Mc unworthiness. Apropos of this trait in Mendel Weber's above-mentioned sonata in A flat major, I Dowall's attention. At last, catching the preacher's ssohn, Ferdinand Hiller gives us a characteristic well remember his saying to me: ''At this moment eye, he called ont, "stoppa :r.e preach. I sing now. anecdote: an angel flew throt~gh the l~ea\·e n s 1". . Stoppa :r.e preach." ' 'One evening," he says, "I came into l\femlel I became acquamted with Chopin m the year Father McDowall brought his discourse to a ssohn's room, and found him looking so heated and 1840. He lived at No. 38, rue de Ia Chaussee d'Antin, speelly close, and the great tenor charmed the large in such a feverish state of excitement that I was frightened. in a house which has since then been pulled down to congregation with one of his most popular airs, i make way for sorne alterations in the rue Lafayette. I do not believe it is generally known that Brig '"What's the matter with you?' I called out. i On my first visit-I was· fourteen years old then noli's superb voice, which had been fn iling him for 'There I have been sitting for-tlw·last four hours, • - I played to him a composition of my former mas several years, returned to him on hi s deathbed in he said. 'trying to a lter a few bars in a. song and ter, Kalkbrenner: "Une pensce deBelliui ;" Chopin the Everett Honse. Like the dying swan, he sang can't do it.' : listened to this abominable music with the greatest his sweetest before expiring. Asking to l.J c propped "He had made lii'Cntl' different versions the composure, withont even a contortion of his eye up on the pillow, he sang sweetly until , exhausted, greater number of which \vould have satislied ~nost brows. He accepted me as his pupil, and cJ.irected he closed his eyes and l.Jreatbed his last. people." PROFESSIONAL CARDS. PIANO, ETC. SINGING, ETC. MISCELLANEOUS. TTO ANSCHUETZ, R S. MARY E. LATEY, O PIANIST AND TEACHER, M VOCAL Il' Book I. Uontaining : No. 1-Woodland Brook. TRADE MARKS No. 2-Hercules. No. 3-Rustliug Pines. DESIGNS No. 4-Eolian Whispers. No. 5-A Winter's CoPYRIGHTS &c. Tale. No. 6-l'erpetual Motion. [n. E.] Ql:}~Ji~n:s~:~g~pf g,~~t~~1~i~~d f~::c~g!\~~~::; invention is probably patentable. Communtca~ Agents Wanted Book II. Containing: No. 7- Village Holiday. tlons strictly confidential. Handbook on Patents sent free. Oltl est n~ency for securing patents. No. 8-Mazeppa. No. 9-Romauza. No. 10 Patents taken throu~Zh Munn & Co. receive special notice, wit.hout charge, in the 1<'0R -Fluttering Butterflies. No. 11-Stormy Ocean. No.)2-Whispering Waves. [R. E.] Sti~ntifit Jlm~ritan. These studiE's are indispensable to the higher art A handsomely Illustrated weekly. J , nr~test clr· Kunkel's Musical of piano playing, and form the stepping stone from ~~~~t;of~1~/ ~~~ttc~~$f.1tlSol~u;;:h n~:~~:a~~~~ Review Cramer to Chopin. · MUNN &Co.3s1Broadway, New York Branch Office, 625 F St., Washlnll'ton, D. c. In every City and Town in the United States. 192 KUNKEL'S MUSICAL UEVIEW, DECEMBElt, 1898. Mrs. Nellie Strong Stevenson is in Berlin, en A PLACE TO GO. joying aud profiting by the opportunities offered in the musical line there. In answer to the many and repeated inquiries as Vesetable to where to stop, or at whitt restaurant to eat while Miss Vera Schlueter, a former member of the in St. Louis, we advise you, if stopping for several w.I.J~ • ....~ Sicilian Tuesday Musicale, and also one of Mrs. Stevenson's or more days, to go to any hotel and engage a room talented pupils, has gone to Berlin to cont.inue her on the European plan, and eat at .Frank A. Nagel'~ studies with Mrs. Stevenson, who is spending some Restaurant, 6th and St. C:harles streets. Ladies out HAIRREN months abroad. shopping will find at Nagel's Restaurant an elegant Ladies' Dining Room on. second floor, and will he It can't make a single new The Graphophone is making friends everywhere, delighted with the table and service, which are t.he root. But if the root is proving itself one of the most useful as weil as ser best in St. Louis. there it will give you a l'iceable of it~struments. One having a grapho thrifty, glossy growth. phone may, w1thout trouble and at small expense, Are you looking for a nice Christmas present.? No gray hair. listen at will to the latest music of the opera house Go to Erker Bros. Optic.al Co., 608 Olive street, and or concert hall, as rendered by the greatest artists, look over their large and most attractive stock of No oandruff. or hear the voices of famous comedians in latwhter opera glasses, shell and silver lorgnettes, gold spec provoking monologues. The gra]Jhophone holds the tacles, eye-glasses, kodaks, magic lanterns, and same relation to the ear as the photographic camera fancy articles too numerous to rnention. does to the eye-with this difference in favor of the graphophone, that everything audible, every shade Do you want a most acceptable and ilseful Christ and tint of sound, are recorded. mas present? Namendorfs haYe it at their elegant Mascagni is seekin~ an engagement in London store, 519 Locust street. You will find the choicest for the orchestra which he is to conduct in Paris line of Umbrellas and Canes in the West. N amen during the 1900 exhibition. dorfs make them, and their prices are right. E. A. Schubert, director of the Orpheus Orches Try Cook's Extra Dry Imperial Champagne. There tra, at St. Charles, Mo., gave a very successful con· KUNKEL'S ROYAL PIANO METHOD. is no foreign wine that has its boquet or any that is cert at the Opera House there on the 11th ult. as pure. .Forty years in the market and not an adulteration. "Strictly pure" is the motto. Cook's Mr. Emil Liebling, of Chicago, announces a se Kunkel's Royal Piano Method is destined to super Extra Dry Imperial Champagne. ries of Complimentary Piano Performances during ~ede all the_methods now in use, and ought to be the present season by advanced members of his used ·by every teacher and pupil appreciating the Music is to the arts what Jove is to man; in . class.. At the first concert, S. Hci I ' onner and H. most modern method of piano teaching. truth, it is love itself, 1·he purest, loftiest language Grua rendered Midsummer Night's Dream Music, Kunkel's Royal Piano Method is founded on the of pa::;sion, portraying it in a thousand shacTes of for two pianos, by Liszt-Kunkel, receiving un principles of piano playing which have produced color and feeling; and yet, true only once, in tel·· stinted applause. such great masters as Rubinstein, Paderewski Von ligible at the same time to thousands, no matter how different their ideas and affections.-Weber. In his "Songs Without Words," Mendelssohn Buelow, Gottschalk, Liszt, etc. ' gives us his innermost ideas. and these are full of A wonderful exposition of piano playing. Takes a pupil from the very groundwork; starts with the moral purity and poetic charm. .For these reasons, FREE RECLINING CHAIR CARS. the songs have made their way into every musical simplest studies; explains everything as the pupil progresses, and, while maintaining the interest de household; and, as musical pictures, possess melody velops a fine technic and lays a foundation fo/ the The utmost resources of the car-builder's art have . and delicious harmonies.- Paut>r. most Artistic Piano Playing. been exhausted in constructing the magnificent Every now and then from some one come a plaint Its valuable features: Chair cars in use on the Wabash Line Thev are founded upon ill-luck in not getting ahead and being The studies and pieces throughout the book are of literally palaces on wheels, splendic!Jy upholstered, recognized among good professional musicians. the most interesting and developing charactAr. a nd decorated with the costliest woods. The chairs, The tale usually runs something like this : They are fingered according to modern researches which are free to /assengers, can by the touch of ''I can play as many notes per minute as any of as exemplified by such masters as Hans Von Bue a spring, be place in any position desired, from a them ancl I can play as long and as loud, but there low, Karl Klindworth, .Franz Lis7.t, Carl Taussig comfortable parlor chair, though various degrees seems to be a prejudiceagainstme in the profession ~tc., p_hrased, and acc?mpanied with full exp lan a~ of lounging chairs to a perfectcouch. Many pre and I can not get recognized." twn of terms, notes, s1gns, etc., etc., as they occur. fer these cars to sleeping cars for night journeys, To such a one I would say the trouble seems to be The wrist attack and the perfect lrgato, the two and for day trips they are the most comfortable and convenient cars that can be devised. Reelining mainly this: Your pnrpvscs are good, your coura~e great fact?;·s in artistic piano playing, are fully de is commendable, but yonr efforts have been mis veloped. I hese two features alone are of incalcula Chair Cars, furnishing ample accommodations for directed ; you have stndied too much by yourself, ble advantage to t he pupil. all passengers, are attached to through trains OA been guided too exclusively by your own judgment The position of the hands, the touch, etc., are cor the Wabash. You have to a considerable extent mastered execu rectly and profusely illustrated. tion, but you are deficient in taste. Your perform Each lesson is preceded by a magnificent portrait I I ances are crude, unfinished, and disagreeable to a and biographical sketch of some great master really fine ear, and the longer you practice in the which is to form a part of the pupil's study. ' PUBLISHED IN manner yon do the farther you will find yourself A pupil who goes through this rnethod will have from your goal. What you need is to go directly a thorough and systematic knowledge of piano play and place yourself in the charge of a competent and ing. He will have a well-defined conception of the Kunkel's Royal Edition. accomplished musician of taste, and acquire some science of music, and will have a concise and inter style and rnusicianship; for, rest assured, there is esting acquaintance with the great masters, past and no road into the higher circle except through the present, of the musical world. qualification of fine susceptibility. There a.re few There arc hunrlreds of piano methods published people whose native taste is sufficient as a guide for which (lo not suit good teachers. Snch teachers will ASCHE~-BUELOW, Easy Studies, Second Grade. find this book just what they want. practice.-Leader. Leaves and Flowers-24 Picturesque and Char acteristic Studies. Incomparable for style ; I A subscription to and flexibility of tingcrs. Price, $2.00 Kunkel's Musical K~AUSE, A. Ten Characteristic Studies- Op 2 -:Edited · by Review Buelow. .For the cultivation of Trills. To makes a most accept be used in connection with Czerny's Etude de able New Year's Present. Ia Vclocite. Price, $2.00 ~IT WILL PAY YOU~ If in want of Floor Coverings to call and examine our Complete Line of WILTONS, Lindell Hotel Restaurant. AXMINSTER, VELVETS, THE NEW RESTAURANT BODY BRUSSELS, OF · THE LINDELL HOTEL TAPESTRY BRUSSELS, Entrance on ~~~~.';~N AND LINOLEUMS AND OIL CLOTHS. Also our Complete Line of Washington Avenue. DRAPERIES, LACES AND SHADES. Ladies and Gentlemen will find in this elegant resort R. A. LINDE CARPET CO. every dainty the market affords at most reasonable prices. 907 & 909 North Broadway. OYSTERS AND SHELL FISH A SPECIALTY. Eatlmates furnished on application.