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------Vol. X. DECEMBER, 1887. No. 12.
A CHAT ABOUT MEYERBEER. and" Le Prophete," but when Meyerbeer invaded used in Holomon's Temple. Certain brnaments, the Opera Comique he produced more rapidly, the and especially the beautiful engraving near the EYERBEER would never tell anybody ''North :::>tar'' dating from 1854, and '' Dinorah '' opening of the large end of the instrument, form how old he was. The musical dictiOn· 1859. The "North Star," however was onlv the ing a turreted border around its edge, are the most aries give 1791, 1793, 1794 and 1796 as the amplification of his "Feldlager in Schlesien 7' and convincing proofs for this position. When Titus date of his birth; 1794 is the correct one, his" Vi~lka," written for Jenny Lind, the greatest Vespasianus, the youthful Roman general, subju at least the one chosen by his friend~y of all his Alices in "Robert." One of his biogra· gated Judea and destroyed its Temple, he took the biographers. This would make him 70 phers declares that the motif of the famous" Sliad· renowned tables, the seven· branch candlestick, the at the time of his death. ow Song" in Dinorah was heard by Meyerbeer at "Sacred Books," and the trumpets to Rome, where The composer himself invariably tried Ems, sung by a young peasant girl. He noted it they were, with other trophies of victory, carried to make people believe he was younger by several down and tried in vain to find out where she had in procession through the city in honor of the con years, and even Mr. Blaze de Bury could not worm learned it. She told him her mother knew, and queror. Upon the arch of Titus these things were the secret from him. Meyerbeer called on the dame, but she in turn in sculptured and may be seen in Rome in a fau state Had Meyerbeer devoted himself exclusively to formed that her grandmother used to whistle it I of preservation to·day. The" Sacred Books" the the piano he would have been the rival of Liszt. When Rossini heard the :first bars of this fasci victor presented to Josephus Flavius, the Jewish His technique, touch and mastery of the instru· nating melody hummed, he immediately finished historian. Afterward, when Titus became Em ment were phenomenal. .!fortunately for music, the melodic phrase, although he had never heard it. peror of Rome, the instruments and "tables of he became a composer. Nurtured in Germany, The sly old fox knew how his friend Meyerbeer shrew bread," by decree of the Senate and Council with German ideas, half Weberized and wholly would treat the second phrase. Meyerbeer de of Rome, were placed in the great temple of Jupi independent, young, ardent and wealthy, he went tested Halevy's music and was jealous of the suc ter. Between the fourth and sixth centuries Rome to Italy iil time to witness the N a.pleonic career of cess of the "Jewess," but he appreciated Bellini was overrun by hordes of Northern barbarians. that rising and dominant ~enius, Rossini. and Donizetti. The city was taken, religion for the time dethroned, Weber and his old instructors were forgotten, When asked if he thought his operas would live, and temples, regardless of the sanctity, !acred or and his soul was tangled in the _fiorituri of "Tan· he said: "I hope so; and if they live as long as historical, were sacrilegiously plundered. After credi." Without the slightest hesitation he be 'Somnambula' and 'Lucia' will live, I shall be their retreat from Rome the Vandals carried off came a Rossini an and lisped in Rossinianese. And sa tis:fied .'' with them the spoils they had seized in the good work this Italianized Teuton Jew produced. He owed a great deal to his mother. a noble temples. "L'Esule di Granata;" "Emma di Resburgo ·" woman. Durin~ the last rehearsals of "Robert le This trumpet of gold, which corresponds in "Margarita d' Anjou," and "11 Orociato ;"the l~t· Diable" he received a Jetter from her marked, "To every particular with the trumpets sculptured ter creating a furore. Then he hurried to Paris be opened after the first performance of' Robert.'" upon tlie "Arch of Titus," was doubtless carried and after a few years' preparation conquered it in As soon as the curtain fell on his triumph he to the North with the other plunder and in turn one night forever by his" Robert le Diable" which opened it and read the Biblical benediction: lost by the conquerors of Rome, who had taken it was rehearsed eighteen months! Meyerbeer's "God bless and guard thee; may he gaze upon from the conquerors of the Jews. position as a composer is unique. Three schools thee, and give thee peace." · Another illustration of the old adage that" His· combine to make him-Italian melody, German Meyerbeer kept it as a memento until he died. tory repeats itself." orchestration and French art and mtSe en sc~ne. Meyerbeer worked ten hours a day, and followed This Trinity is Meyerbeer. His admiration for the literary movement of Europe with the closest How deeply has not" The Wanderer" affected thousands Rossini was unquestionably sincere and Rossini, attention. Blaze de Bury, in his souvenir tells us Perhav.s never so much as when at a London concert, during late in life, loved him (if Rossini ever could love he was ever on the qui vive for good piays and the brilliantly musical decade of '40 to '50, a very insignificant novels. He left an opera called "The Youth of looking singer stepped up on the platform, and, without intro anybody.) He fainted when he heard of his death duction of any kind, prepared to give a song at the end of the in 1864, and the unkind things he said about him Goethe," which M. De Bury has seen, finished in concert. No one knew him and no one had heard of him in were chiefly inventions of witty French reporters. three acts. It is in Berlin now, and according to the audience; neither his name nor song were in the program. The followmg "Stor.y is authenticated however. his last wishes will remain for thirty years after Many people got up to leave the hall, it was at the Hanover Square Rooms, when a. few notes arrested them; some sat One night .Rossmi was listening to" Robert" his death unpublished. Amateurs must wait un down again, and others returned from the outer passage, and and turnmg to Meyerbeer he said, "If you ever til1894.-F. S. SALTUS. silence fell upon all, The song was Schubert's' Wanderer," compose anything finer than this I'll dance on and when that insignificant singer had done-when the last note had sounded and the glorious, deep bass voice of the my head." artist had died away-a storm of applause shook the hall. ''Very well," replied Meyerbeer, "you had bet THE DANISH HORN. Never had Schubert's" Wanderer" so affected an audience, ter begin practising, because I have just finished and never had its fine strains so entered the souls of those who the 4th act of the" Huguenots." heard it. 'l'he unknown singer was Staudigl, the greatest Ger "L' Africaine" was begun in 1838, and the chorus ~ the Royal Museum of Copenhagen there man basso of his time, and it was through "The Wanderer\' of Priests, in Act I., dates from that period. For 1s, and has been for more than 275 years, a that he had his first ovation in London. years Meyerbeer postponed its production until he golden trum"fet, known throughout Den· "REME!IlBERING," saysl>rofessor Banister, "Bacon's saying 'that studies serve for delight,' I reiterate that the capacity grew pld. Finally he declared him13elf satisfied mark as the • Danish horn," with engraved for appreciative enjoyment of music is greatly enlarged by with Marie Sax, Faure and Naudin, and rehearsals emblems, comprising the symbol of purity, such a study as that which we have been considering. Walter began. He died one year before the first perform ~he triple lily. Its weight is 102 ounces and Savage Landor says: 'Good poetry, like good music pleases 1t measures two feet and nine inches in most people; but the ignorant and inexpert lose half Its pleas ance, and the venerable Fetis took charge of the ures, the invidious lose them all. What a paradise lost is opera, and made the necessary cuts, otherwise .o length. This horn is said to be a genuine here I' The inexpert in music may be considered as those who "1' Africaine" would have lasted eight hours. trumpet of Zion. The surrounding circumstances have never in any way tried to do it,"· e., to construct or to I was present at the first performance, and can strongly sustain the position, and up to the pres studv construction. Such persons, in listening to music, are somewhat like those spoken of by the same writer, who 'walk never forget the wild enthusiasm of the finest audi ent time there bas been not the slightest scientific over the earth and are ignorant not only what minerals lie ence ever assembled in Rue Lepelfetier, when the doubt as to the genuineness of the relic. 'fhe lily, beneath, but what herbs and foliage they are treading.' · marvellous introduction to the fifth act began. as a symbol of purity, was generally carried in the "A little while ago I was in the close of a beautiful ·cathe • The whole house rose. Had Meyerbeer lived we right hand by the vestal virgins of the Temple· it dral, which I had, like others, admired for its general features. But while I was resting on a stone, some men in common garb certainly would have had a different rendering of also forms the emblem on the "shekel," the J ~w saunterinc past, stopped, and began pointing out to one an "1' Africaine," especially in the last act. . ish coin. There are also discernible the much other the minute carvings in stone over one of the porches, He was always open to advice and sug~estions, efl'aced remains of what has the appearance of being evidently amazed at its beautiful detail. I at once dis and received them not only from his fnend the pomegranates, agd traces of an inscription which, cerned that they were craftsmen, who were so much better able than I to appreciate the design, the patience, the labor, tenor Nourrit (who forced him to write the great a~ far as it can be made out, is engraved in that the skill manifest in the wrought work. And though with duo in the fourth act of the "Huguenots"), but kmd of Hebrew characters known as the Samari mere natural perception of beauty, one may enjoy sweet mel from an~ claqueur or stage carpenter. tan text. The emblems and inscription may be ody harmoniously set, and may sometimes almost incline to He took his time too to write his scores. easily accounted for, and accepted for the mean say to a contrapuntist, as Emerson makes an ordinary nature When Donizetti first began to show symptoms ing of the word "Jehovah." lover say to the botanist: of the fell spinal malady which killed him in his The trumpet was discovered by a farmer's daugh Go thou to thy learned task, I stay with the flowers of spring; prime, he said to a friend : t~r, partly concealed in the ground, in 1630, in the Do thou of the ages ask "I composed nine operas in five acts each last diocese of Rypen, Jutland. As to how it found its What one the hours will bring. week. When Meyerbeer, who takes twenty years ~ay from Pales~ine to Denmark can only be con Yet, after all, there is immense enjoyment in being in the to write twenty bars, hears of that he will be as· Jectured at. It IS accepted as a fact that the relic cunning secret of how the musical composer goes to work to tounded." Thirteen years divide "Huguenots" at one time was one of the instruments anciently produce a complete and beautiful whole.'' ,. ..•
444 KUNKEL'S.MUSICAL REVIEW, DECEMBER, 188'1.
ARTISTIC ATMOSPHERES. HE Toronto Mu8ical Journal, under the title of"Anglophobia," comes to the rescue of HAT political institutions are most fa England as against our editorial on vorable to the development of art, is a '' French Economy and English Self KUNKEL BROTHERS, PUBLISHERS, question upon which there has been, Complacency," published in the Septem 612 OLIVE STREET, ST. LOUIS. and doubtless will be for many years ber issue of the REVIEW. The Journal suggests that we furbish up the plates of I. D. FOULON, A.M., LL.B., EDITOR. yet, considerable divergence of opinion. Those who favor monarchical institu some " ' Dirge on the Downfall of the Roman Em pire' and include them in Kunkel's Editions as a SUBSCRIPTION. tions point to the undeniable fact that One Year, - 82 00 monarchies support the arts with subsidies, prizes, 'Funeral March on the Death of Britannia' by, Six Months, 125 etc., far more than republics. 'rhose who prefer say, Eingrosser Thor." While it may not seem Single Copy, 25 democratic government urge that freedom of de modest in the editor of the Toronto Musical Journal Thu includes postage on paper, to all points except St. Louu. velopment is as necessary to the growth of art as to suggest himself as the author of Britannia's St. Louis subscribers must. arld at the rate of 25 cents per year to their subscriptions when they wish to receive the REVIEW by mail. to the growth of a tree; that the vigorous in de- funeral march, still we recognize the fact that the This ts due to the peculiarity of the postal laws, which prevent pendence begotten by the self-reliance imposed ardent patriotism and loyalty of editor Thor, of monthly publications' being sent at second-class rates in the vlace where thev are published. upon tb e artist by free institutions, will make of the Journal, proven by his advice to his fellow . him a more earnest worker in the field of art. We, townsmen to celebrate the Queen's jubilee, a few Subscribers finding this notice marked will understand that months ago, "because it would pay" (By the way, their subscription expires with this number. The paper will as our readers know, incline to the latter belief. be discontinued unless the subscrivtion be renewed promptly. The question might approach solution if an appeal did it?) fit him eminently for the task. We should, to history threw any clear li.ght upon the subject, however, prefer, as more appropriate to the occa "ONLY A BALLAD." but the candid disputant must admit, whatever sion and more in keeping with the sentiment of side he takes, that historical evidence sustains one the American people upon the subject, a caprice 0 be able to sing" only a ballad" seems to view about as much as the other. Art has both on" The Tune the Old Cow died on," introducing be considered a very easy thing by the flourished and failed under the most antipodal po an Irish jig or two and a French-Canadian chanson. majority of amateurs, and yet to sing a litical svstems. It was under the rule of priest and ~ ballad well is more difficult, that is to despot, in the midst of the degradation .and slavery N the death of Mme. Jenny Lind Gold ~ say, d•mands a greater variety of talents of the people, that Egyptian art erected the pyra schmidt, the world has recently lost a . ~ than to sing a florid operatic aria in good mids, obelisks and sphynxes which remain to-day good woman, and but little else. For style.1 The latter is almost entirely a matter of vo the wonder of the world. 'rhe glories of Grecian many years she had been but a reminis calization; the former demands, in the first place, sculpture and architecture were the product of a cence for the older people among us, but a a correct declamation of the text. This implies, fickle democracy. Rome, whether republican or legend for the rising generation. Theophile first of all, a study and understanding of the words imperial, too much engaged with wars and con s Gautier somewhere calls attention, in his - of the song, the grasping of their inner meaning quests, had really no art of its own and but few own graphic style, to the peculiarity of our recol and emotional contents, in other words, such a art-works, save those it had got through the pillage lection of the human voice-how well we recognize preparation as an elocutionist would make if he of Greek art-treasures. Venetian art had its hey it when we hear it, how utterly impossible it is to were about to recite the poem in public, and, of day under what, though called a republic or an recall it in the absence of its possessor. And it is course, includes that rarest of accomplishments, elective monarchy, was in effect an oligarchy. The so. We remember clearly enough the impression ·] · correctness and distinctness of articulation-with art of Europe in the eighteenth century seemed to produced by a great singer, but we are not only out which ballad singing is an abomination. Then, ·be but little affected by the crumbling of old forms unable to reproduce his or her voice, but even to ballad singing makes severe demands upon the of government or the rising from their ruins of new think it clearly. To this is doubtless due the voice, in the way not of agility, but of correct political systems. Switzerland never has had any ephemeral character of. fame based upon great formation and emission of tone, including the skill great art to speak of, nor, so far, has Russia. The talents, or even genius, for singing. There were ful varying of tone to suit the varying emotions French republic is more prolific of worthy art-works great singers, in the last century-how many of our called forth by a correct rendering of the text. than was its immediate predecessor, the third readers could mention even the names of half a There can be no concealment of bad tone by vocal empire, but the republic has kept up the system dozen? The works of a painter, a sculptor, a com fireworks or mere rapid execution of more or less of subvensions, etc., inaugurated by monarchical poser or a poet live after him-that of the musical musical fioriture, every note, every syllable stands power. interpreter vanishes into thin air even as it is be out, as if H were the only one, and the singer has It would seem, therefore, that forms of govern ing produced, leaving behind but a more or less not sung four bars before the connoisseur has rated ment have but little to do with the existence or de definite, pleasurable impression. his work. But this is not all: to elocutionary velopment of the art-feeling. Art, after all, is only Creative artists frequently complain that the understanding and correct vocalization, must be the expression of the beautiful, and it seems quite mere interpreter receives more applause and more superadded musical intelligence, that indescrib clear that the sentiment of the beautiful is quite pay than they. Is there not in what we have said able, but ever-felt something, which distinguishes independent ofpolitical faith. And yet it cannot above the suggestion of a law of compensation? the musician from the mere music-maker. Without be denied that the artist's work must be largely af The stars of heaven might envy the attention be this, how shall the singer know how to pend the fected by his ideals, and that ideals are necessarily stowed upon a sky-rocket. The rocket must be ad time of a phrase so as to fit the sentiment of the affected by beliefs and surroundings. The massive mired, if at all, while it lasts, and hence claims text and yet to so do it as not to disturb the uni art:of Egypt accorded well with its despotic ideas our whole attention for a moment. The star re formity, the unity of the music? This is what is of government, while that of Athens breathes the mains forever, and hence we take our time to study meant by correctness and elegance of phrasing; air of freedom and sunshine. And so down the and admire it. The star is a star, however, and the and if artistic phrasing is difficult in instrumental ages, the ideal reflects more or less definitely the rocket is only a rocket. Handel remains, and Uuz works, where the musical element alone is to be real, and art expresses, in part at least, the mood of zoni, the soprano idol of London in his day, would considered, and in opera where, at times, mere the people among whom the artist lives. This be be quite forgotten but for the familiar anecdote of declamation, and, at others, mere vocalization oc ing so, it is probable that the adherents of the the irascible Handel's seizing her to pitch her out cupy so much space, how much more difficult is it conflicting views we have referred to, would find of the window for insisting, after the manner of in what we so carelessly refer to as "only a bal themselves in conflict as to what is worthy art, as prime donne soprani of all ages, upon singing one lad I" Indeed, only great artists can hope to sing it might be found that one form of government was of his arie her way and not his. ballads just as they should be sung. favorable to one form of art, another to another, Will Edison's new phonograph change all this? The practical application of these observations and each would prefer that form that tallied with We fear the capabilities of the instrument have is the suggestion to those who sing in public now his own political tastes or views. been overstated. If not1 the voices of great sing ers ·can be repeated ad mjinitum, and vocal artiRts and then, that if they have not spent many hours As for us, we believe that free institutions are will be put upon somewhat the same level as others in serious study and practice of their ballads, they best for everything, hence best for art. Even if as to the permanency of their work. They will, had better do so before they again inflict them this were not so, however, the brief historical retro however, be perforce brought down to the same upon the public, for to sing a ballad well is, were spect we have just taken, shows nothing against level of compensation as others. When, by turnin!! a crank in our parlor, we can have the voice of peat it, indeed a difficult thing. Another practical the possibility of the development of art under Patti sing us an operatic air, or that of Nilsson a suggestion is that, if a ballad demands so much free institutions, but rather the contrary, and there ballad, we shall perhaps hardly care to invest more study for its acceptable interpretation, it behooves is therefore no occasion of complaint upon the than a dime to hear Emma Abbott attempt the the singer to so select his songs that he will not same things, or more than, say, half a dollar to hear part of our artists of all grades on that ground. the living Patti and Nilsson themselves. spend valuable time upon the study of mere trash. More work and less talk, more self-reliance and After all, therefore, things are possibly not quite There is no dearth of good songs, and there is, less whining, more real talent and less pretense so much" out of joint" as disgruntled authors and therefore, no excuse for the using of poor ones. these are the things the arts need in this country. composers believe, or at least pretend to belip,ve. - "
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KUNKEL'S MUSIOAL REVIEW, DECEMBER, 1881. ·445
DRAWING-ROOM BALLADS. The first point to consider is that of respiration. habitually; adopt the clavicular type of respiration . This important function must not be interfered instead of the abdominal type, which is tl:i.e natu HE British ballad is less distinguished for with during speech, and should ral one for ordinary use, to be supplemented by the the accuracy of its grammar than for the be so managed as to be performed costal and clavicular types only upon rare occa beauty of its sentiments. naturally or without conscious sions for momentary use in the production of cer- · This is a remark applicable alike to the effort. It is painful to see the la tain effects, or under the influence of c·ertain emo modern drawing-room ballad-which is bored phases of inspiration, or tions. The consequence of this vicious mode of generally an inchoate jumble of kisses and taking breath, which are exhib respiration is that, by a powerful muscular effort . blue eyes, adjectives and lovers' pleadings ited by many female vocalists, of the auxiliary muscles of respiration, the thorax whose manner of dress makes it becomes fixed in a constrained position, and like Q chucked togethet anyhow-and to what may be called the British ballad proper; for the more conspicuous; and still more wise the organ of the voice itself; and the muscles drawing-room ballad is not a ballad, but a spirit painful to witness it in a preach of the throat, which should be in a relaxed condi less, storyless fragment of unconnected sentiment, er, whose dress and surplic'3, tion, become more or less fixed also; so that addi a mere musical episode, which starts in the middle even, do not hide it from the ob tional muscular effort is requisite to produce the of a romantic attachment and winds up at about servation of his auditors. necessary vocal sounds. This is not only fatiguing the same spot. It is well known that the tho to the individual, but it produces a constrained It tells us nothing of the antecedents of its rax or che§.t expands somewhat voice, disagreeable to the ear of a cultivated hear characters, and rarely introduces them properly, or in inspirafion, or taking breath er; while the effort necessary to keep speaking, describes their personal appearance. in, and con tracts again in expi diverts the powers of the speaker from gliding into Its heroines are often alluded to as merely" she" ration,orgivingbreathout. Now, many natural embellishments germane to the oc or" thou," and it is sometimes a matter of very a little observation will show casion or to the subject. great difficulty to tell even the sex of the supposed Fig. I.-Abdominal, that in ordinary tranquil inspi Another effect of taking too deep and strained Diaphragmatic or ration the soft parts below the an inspiration, is that some of the breath is often singer, who may be a maiden sighing after her ~atu.ral Type of Res- chest become bulO'ed forward in lover, a mother bewailing her child, or an injured puatton, '"' · ' given out again before the voice is produced, and husband with quite enough evidence to go before a (The figure has been conse!luence of the desce~t. of thus absolutely rendered ineffective. The voice is jury. reduced from a pho- the dwphragm, a soft partition produced only during an expiration, and every par An ordinary listener, who is unskilled in the jar tograph.) The dotted between the chest and the abdo ticle of expired air should be utilized, in order to gon of the song-writers, is generally left doubtful, transverse lit~c.s rep- men. In addition to this, the ribs accomplish the Lest effect with least effort. But if res en~ the pos1t10ns of at the lower portion of the chest on the conclusion of the performance, as to what fuedmphregm; fue • a strained inspiration has been made, there is precisely the speaking party in the song is driving heavier one, its posi- expand sllgh tly, but the upper either a painful stop before speaking, or else some at, and whether he, or she, wants a burial certifi tion after expiration; ribs remain pl'actically undis of the atr is allowed to escape, to relieve the un cate, or a wedding ring, or a judicial separation. the lig;hter one, in in· turbed. This is what is termed comfortable sensation in the chest, before the vocal The drawing-room ballad is a weakling that can spiratwn. the abdominal or diaphragmatic muscles can be brought into proper position. In not stand alone, but must needs have the piano to type of respiration (Fig I.), because the abdomen this manner, the whole of the air painfully in lean on. Without the piano it would fall, and fall and the diaphragm are the principal factors of the spired is not used after all. The escape of air with very fiat indeed; with the piano, and aided by a process. As the abdomen expands, the diaphragm out utilization in voice renders frequent inspira little judicious indistinctness on the part of the becomes depressed, increasin~ the capacity of the tions necessary, and thus the pernicious process is singer, it contrives to stumble through its three chest vertically, and the air repeated. verses without being generally detected as an im passes readily into the expanded In addition to this, the constrained position of postor.-London Globe. lungs. In females, the ribs par the vocal organs prevents due play of the muscles ticipate more freely in the expan of the vocal bands, alters their physical relation sion of the chest than in men, to the impact of the escaping currents of exFired the upper ribs particularly. If a air, and thus enfeebles the natural tone o the Now is the time to subscribe for KuNKEL's MusiCAL deep inspiration is favorPd by a voice, and renders it less sonorous and less suscep voluntary continuance of the ac tible of modulations. In consequence of this, the REVIh.W. tion of the a.bdomen and dia sounds are proportionately weak, shrill, and mo -I phragm, it is found that the ac notonous. In taking breath, then, during exercise IMPROPER USE OF THE VOICE. tion of the ribs becomes aug of the voice, the habit should be cultivated of mented,and that theentireseries breathing by the abdominal method instead of ele of ribs enters into the movement vating the upper ribs, collar-bone, and breast-bone. MPROPER methods of using the voice lead progressively from below up This supplemental method wiJl follow the other to certain affections of the throat, the chief wards, still further increasing naturally, and ·without visible eff01:t, when re one of which is popularly known as clergy the capacity of the chest, and quired in the emotion of a special and appropriate man's sore throat, though by no means con thus drawing a larger amount of occasion. fined to members of tbe clerical profession. airintoit. This is what is termed In public speaking and in singing, it is requisite It occurs in all classes of persons who . . the lateral, costal, or rib type of that a supply of breath be taken in, rather quick Flg. 1 I.- c 1avlCU- . t. If t'll f th f- ' strain the voice or misuse it. It consists in lar Type of Respire- resptra wn. a s 1 .u~ ere ly, at certain intervals, determined either by the. a congestion of the mucous membrane and tion, succeeding Ab- fort be made to draw au mto t~e character of the passage or the nature of the effect mu~:~cles of the throat, with enlargements of many domina! and Costal chest, or fill the lungs to theu to be executed; and that tl:iis supply be husbanded of the minute glands which secrete the lubricating Types in Succession. Utmost capacity' the collar· bones by controlling the expiration in such a manner that A forced and unnatu- fluid tllat keeps the surface of the throat moist ral type. rise after the ribs have all be the breath shall be allowed to escape from the and pliable. These enlarged glands are visible in come expanded, and the upper cbest as slowly as is compatible with efficient utter the form of prominent groups of projections, vary portion of the breast-bone rises. (Fig. II.) This ance. Inspirations, therefore, have to be taken at ing from the bulk of pin-beads to that of small IS the clavicular or collar-bone type of respiration. regular intervals, varying with the sense of the peas or b~ans, irregularly distributed upon the sur Indeed, if the effort is pushf'd to its uttermost, passage, phrase, or sentence; and consequently no face of the mucous membrane. The mouths by then the bones of the spinal column, and, as a mat special rules can be given, applicable to al1 occa wh}ch th.ese glands discharge thE?ir lubricating ma ter of course, the skull on top of siOns. All attempts to formulate such rules have tenal bemg choked up by swelling, that material it, rise also, so as to increase the been failures. It is proper, however, to take an in becomes pent up in them and unable to escape and capacity of the chest to its ex spiration quietlv, at every convenient pause in ut thus accumulates in the glands and distends them. treme limit, while at the same terance, and to utilize every portion of the expira Now the congestion above alluded to, which is the time the abdominal wall sinks tion following, in the production of sound. The first step in the en tire process, is produced in the inward towards the spinal col voice should begin at the very instant of expira following manner :-The muscles of the throat umn. If the inspiration begins tion,-at the very moment of impact of the air which should be more or less at rest during the us~ with the elevation of the clavi against the vocal bands; but the expiration should of the voice, are absolutely put into continuous cle, and the distention of the not be prolonged unnecessarily, for that will de ~onstr~ined. action in improper methods of speak upper ribs, the retraction of the prive the sounds of due volume and fullness to mg, as Is eVInced by uncomfortable sensations dur ~'~ bdomen is quite marked. The wards the close of the expiratory effort. Care should ing protracted or impassioned speaking, or shortly contrast between the outlines of be exercised not to take breath too often. This pro after it. In the same manner as physical con deep abdominal respiration and duces a disagreeable effect. Practice is the only sciousness of the possession of a stomach, or of a deep clavicular respiration, in criterion in this respect, and, to be most effective, tooth, or of a toe, for example, is evidence that the male subject, is well shown the practice should be at first under the supervision something is wrong for the time with the stomach, in Fig. III. The forced ab of a competent critic or instructor. the tooth, or the toe, so physical consciousness of dominal inspiration can be main- In order that respiration be properly performed the possession of a throat during speaking, or V \ tRined for the requisite number during vocal exercise, it is essential that there shortly afterward, is evidence that something is . . of seconds, with comparatively should be no constriction at the waist. The waist wrong with the throat. The strain upon the mus Flg. 111.-Dlag~am little effort and utilizes the en- of deep Abdommal . ' . . coat of the male and the corsage of the female cles, and the sense of uneasiness following, are and of deep Clavicu- tire volume of air In the lungs, should be sufficiently loose to permit of free abdom cause and effect; both of which may be avoided lar Respiration con- upon vocal organs in a natural inal respiration. Close-fitting or tight corsets, by proP.er use of the organs of voice and of speech. trasted. position; while the forced clav- therefore, interfere mechanically With efficient In civtlized communities, conventional or affected (The heavy dotted Icular type requires considerable respiration, and impair the vocal powers corres methods of doing things of various kinds are em outline exhibits the effort for its maintenance, and pondingly. ployed by many people instead of natural methods abdot:ninal type. and utilizes only the upper portion of An easy position of the body should be assumed the light dotted out- f · 1 for various reasons, such as the desire to impres~ line the clavicular t 11e volume o au upon voca or- during public use of the voice or during vocal prac ot!IE?rs ~ith a sense of individual imp<;>rtance or type.) · gans in a constrained position. tice. The erect position is the best, with the oook, origmahty; and these methods are copied or imi The best efforts of elocution and manuscript or score at an easy reading distance, at tated by others. Hence, erroneous and affected singing are produced from a full chest of air in about the level of the neck or chin, so that the methods of speaking become widespread. spired according to the natural or abdominal type. head need not be depressed, and thus interfere with To appreciate this point in the subject before us, Now, the trouble with many public speakers and easy utterance and mtonation. The body must not it will be advisable to consider the factors of natu singers is, that, under a mistaken conviction that be turned too much to the ri~ht or left of the mid ral voice and speech; and then the injurious effects it is important to fill the lungs as much as possible dle line, as that prevents distinct hearing by the of departures from it can be properly estimated. at the commencement of a sentence or phrase, they audience at the opposite side of the room. There is 446 KUNKEL'S MUSICAL REVIEW, DECEMBER, 1887.
hardly any public hall which permits equal facility seemed to those who knew him, and watched his der the dominion of the bow, however, it fairly be of hearing m every part of it. It is proper, there• career, to be no affliction at all. To his secretaries came the immediate ancestor of the whole violin fore, to address the central portion of the audi he dictated his works, and his indomitable energy family, and began to find form in the vielle, the· ence; by which plan, those at the two sides are caused him to accomplish more than half-a-dozen rota, and the Rebec. These, in turn, underwent. placed under equal advantages. Addresses first. to ordinary men blessed with eyesight. He wrote the changes, such as were manifested in the viol with one side of the room and then to the other depnve lives of musicians for the" Imperial Dictionary of the five strings played upon the knee, the treble· those at ea.ch side, successively of the remarks Universal Biography," and contributed the arti viol, also with five strings, and tuned five notes: which are being made to the peopie at the opposite cles on music to the ·• Encyclopred1a Britannica." higher than the knee viol; the bass viol, with five· side of the house.-From ''Throat and Voice," by He supplied several articles for Sir George Grove's strings, and at times with six, which is the same· J. SoLIS CoHEN. ''Musical Dictionary," and wrote hundreds of es as the viol da gamba. 'l'he violone, which was the· says and articles for magazines and musical news violoncello of former times, was placed on a pedes papers. He edited various works for the" Musical tal when played, as was the accordo, which is the· GEORGE ALEXANDER MACFARREN. Antiquarian Society"; he was some time secretary double bass of modern times, but with strings dif of the" Handel Society," and was responsible for ferently arranged. In addition to these, there was E abridge from the London Musical Stand several of their issues of the great master's works the viol d'amour with strings of wire passing He wrote the oratorio handbooks for the defunct through the bridge, and tuned in unison with those ard the following sketch, by Mr. T. L. Sacred Harmonic SociRtY, and his analytical pro passing over it. The French are said to have re Southgate, of the life and labors of that grammes of the Philliarmonic Concerts were re duced the viol and converted it into the violin of deserving apostle of English music, the markable for the critical powers, happiness of ex the present day. This, however, is still an open late George Alexander Macfarren: pression, and poetical suggestiveness which they question. But as M. Fetis is of the belief that the displayed. His" Rudiments of Harmony" (1860), French are entitled to the credit of this gigantic _r...,~~-.--'------· - - ~ ' I • ·. KUNKEL'S MUSICAL REVIEW, DECEMBER, 1887. 44:7 EDOUARD REMENYI. oratorios and most of his operas were written, and ROSSIN lANA. produced under his own direction. It is not, there HORTLY after the appearance of our last fore, surprising that in England his compositions R. MICHOTTE, a former friend of Ros issue, the cable brought the news of the are best understood and given in exact accordance sini, living in Brussels, is at work on an death., by drowning, in a shipwreck off the with the composer's own ideas, as handed down by "Autobiography of Rossini," the second coast of Madagascar, of the famous Hun direct tradition. part of which has just been published garian violinist, Remenyi. It was at first In Germany, they are practically unknown; and m the Fanjulla della. Domenica, of Rome. thought that the report might be ground it is a significant fact that the late Ferdinand Rossini used to relate to Mr. Michotte, less; it was even hinted that it was an Hiller, when he heard the Messiah given in London during long walks in the Bois de Bou advertising "dodge," merely. No other by the Sacred Harmonic Society, expressed his logne, incidents of his life, and MI·. advices have reached us, however, and it seems surprise at its manifold beauties, of wliich he had Michotte made regularly in the evening notes pretty certain that the inspired Hungarian fiddler no previous notion, adding that, although he had of these conversations, which are now placed 1s no more. No one would assign the first rank as frequently listened to its performance in Germany, before the public as the composer's "auto a violinist to Remenyi, nor indeed did he aspire to this was the first occasion on which he had heard biography." In speaking of the rapidity it. He was content to play for the masses, and he the work. The Handelian school is practically with which he composed, Rossini once said: was most at home in music of a popular character. uniqne, and is but little underslood in America or " 'The Barber of Seville' was the work of This has led many, we think, to underrate his on the continent of Europe. Handel's method was thirteen davs. My other Italian operas took ability, which, in its way, was really great. Re to produce the most impressive and dramatic effect me rarely over a month to compose,' Semira menyi, besides being a deserving artist, was a man by the simplest possible means; and it can there mide' thirty-three days. 'William Tell' cost of gentlemanly instincts, and numbered among fore easily be understood that the modern German me five months, a lon·g time as it seemed his friends in this country not a few to me. I composed that opera at persons of eminence. His demise is Petit Bourg, in the villa of my one we sincerely regret. The picture friend Agnado. Those were gay we give on this page was an excellent times. 1 was then passionately likeness of him when we last saw him. devoted to angling, which accounts for certain irregularities in the ex- ecution of that work. Among other HANDEL AND HIS MISINTER· things, I remember having sketched in my mind the conspiracy scene PRETERS. one fine morning while sitting at the edge of a pond waiting for a MERICAN musicians( whether bite. Suddenly I noticed that a native or adopted), with very large carp had snatched the rod few exceptions, now regard from my band, while I was full of the claims of Handel as a Arnold and Gessler. I almost always composer entirely unworthy worked standing before a desk, and of consideration. Like chil never a piano near me. Good heavens, dren permitted to indulge in a piano I The proximity of this instru sweetmeats at their own ment is usually a scourge to composers, sweet will, their appetites have become and especially to dramatic composers. depraved; and they no longer have any I know more than one unfortunate be appreciation for solid and wholesome ing who became almost part and parcel food.' Not that 'Vagnerian methods of the piano. There was that poor boy are attractive, but tliey so demoralize Bellini, and then poor Meyerbeer, who the intellect that the mind is no longer literally spent three-quarters of his life capable of appreciating the true in art. before the piano. And yet he wae teem Another reason for the present un ing with ideas that came to him with popularity of the old composer i~ the out an effort. But then it was an old evident inability of resident conduc habitwith him, and he had begun as a tors to grasp his meaning. The tempi virtuoso on the piano. He always mis are misconstrued; the manly and dig trusted his inspirations until he had nified style, with its broadly accented tried them a thousand times on the rhythm, which can only be described keyboard, all of which did not prevent a!f Handelian, is entirely i~nored; and him from accomplishing great things, modern tricky devices are freely in tro although heaven knows at what a cost. duced, to the utter perversion of the Let ma1icious tongues that claim to author's meaning. .For instance, vio know everything say what t.hey like, lent tonal contrasts are indulged in, Meyerbeer and I were very fond of each and the massive closing cadences of a other. It was an unclouded, mutual noble chorus often utterly spoiled by love, with only one exception-the pi the use of a rallentando and diminuendo. ano, with which I reproached him from Handel was essentially a dramatic the day that I made his acquaintance writer; and his Recitatives, if properly in Vienna. 'What shall I do?' he interpreted, are notable instances of used to say. 'I need excitement; the his innate power to express every phase . piano tickles me.' I never succeeded of emotion in the most graphic man m proving to him that he had ~enius ner, through the medium of his art. enough to do without such tickling. But the automaton-like stolidity with It was like talking to the wall. He bad which they are delivered, under the ordered of Pleyel a small piano of only unyielding and monotonous beat of our I EDOU ARD REMENYI. a few octaves, which he carried with modern conductors, effectually elimi- him wherever he traveled. Thus my nates every atom of their significance. friend dragged through life a veritable ~hten rehmod~stratted '!ith ~n the sub- __ instrument of torture after him, and Jec , sue Irec ors mvanably quote thus he unconsciously nourished that the modern German reading as their spirit of mistrust toward his own crea authority, and therefore consider the tions. I say again and again: Beware matter beyond argument. Now, although it is cer school, which emP.loys every possible adjunct, both of the piano. Composing with this instrument is tainly true that Germany has produced nearly all legitimate and Illegitimate, in the endeavor to a slow and fatiguing affair, enervating and dan of the ~ost notable composers, it does not follow produce startling results, is scarcely able to ap gerous." that this favored country enjoys an illimitable mo preciate the inspired effort of George Frederick nopoly in everything appertaining to music. Handel. . HARLES READE, who saw "Lohengrin" As a matter of fact, although "Italian air" ad In spite of the contumely heaped upon him by at Dresden, said: "Two or three of us had ministered through the medium of the" ammonia such artificial mannerists as Spohr and the '{>resent taken a front seat in a proscenium box. phone," may be most beneficial to vocalists as its race of German" futurists," we may search m vain Suddenly a stranger took a seat behind us, mventor informs us, there is nothing in the 'atmos for a composer in their ranks who could produce and expressed himself in such sentences phere of Germany that will convert an ordinary such choruses as are contained in Israel in Egypt as 'Ach Himmel! Sehr gut I Ach schlecht, student into a musical genius, although the host of to say nothing of numberless others of almost equai sehr schlecht I' and many other gutturals of young Americans who flock over there for one or grandeur. the same sort, clapping his hands mea~- two years: study evidently think otherwise. Nei He may have been a mannerist, besides commit while and stamping like a demented creature until ther can It be assumed that. the many German ting the sin of" repeatin~ himself"; but what a he became absolutely intolerable. As soon as ~be mu~icians who select America for a home are neces magnificent manner was his I And, considering the first act was over I sought the usher, requestmg sarily possessed of special ability by reason merely marvelous rapidity with which he worked, and the him to have the apparent lunatic removed. But I of their nationality. ' ' prolific nature of his productions, it is, to say the can never hope to give you the gestu!es or expres Again, Germ~n ''authority" i~ by no means to least, unjust to accuse him of self-plagiarism. sion with which he rephed, 'Ach, das Mt Herr Wag- be accepted without questiOn m every instance. If musical students would carefully study the ner I'" I11;deed~.as far as Handel is ~oncerned, it is entirely works of Handel and his great prototrpe, Bach, misleaam~. He was certamly of Teutonic birth· in lieu of the pretentious and bewilderm!Z eccen but, like Bach, Beethoven, Schubert and many DOMESTIC-" What will I get for breakfast? There isn' t a bit tricities of Wagner, they would soon realize the of bread in the house." others.t his own received him not," and the greater benefit of working on a solid, f<>~:pds:~tion , -J(u~ica? Mrs.Youngwife-" Dea..r,. dear t Tbis is bad ~ I suppose you part ot his life was spent in England, where all his Herald. · 'Y': · ' • • • • ' " had better have toast."' 448 KUNKEL'S MUSICAL .REVmW, DECEMBER, 1~8'7. THE LAST OF JACQUES OFFENBACH. IC transit gloria mundi I Madai;D.e Offenbach, the widow of the immortal Jacques, says 1:. ! ": Music and Drama, died a few months ago ()j . in Paris. She will long be gratefully re· membered by the poor of Paris, to whom she was a true friend. She left no chil dren, anu .the goods and chattels, once be lon{!ing to her anu her husband, were re cently sold in the Hotel Drouot. A Paris Jetter gives an interesting account of the rather melancholy affair: "There were fewer persons present than had been expected, but the artistic odds and ends were speed OUR MUSIC. ily disposed of. I saw a beautiful little bijou of a violin, enameled, go for £23. A curious ornament "MINUET," ...... Philip Scharwenka. in porcelain, consisting of a group of children in Oriental caftans, all playing some musical instru This composition is, as yet, but little known in ment, was knocked down for £8, or thereabout. this country. It, however, deserves a wide popu Among the other objects, was a figure of Euterpe larity for its great excellence. It is classical in its in bronze, given to Ofltmbach by the Emperor Na character and not difficult of execution. poleon Ill. in 1856; a portrait of Rossini, with au tograph; an organ in carved oak, several pianos, a "BARCAROLE IN G MINOR," ("June") op.'l'scha'ikowski. broken violoncello, pictures by Detaille, Vibert, and others; · and a laurel wreath, which was pre Only the better class of players should attempt sented to the composer by the company of the this composition, as it demands considerable tech Gaite Theatre when Offenbach was manager of that nical skill. It is highly romantic in its character establishment. The sale was a sad one, and it and makes an excellent concert number. evoked many memories of the most popular com poser of his day. Offenbach made a great deal of "OuR BoYs" (March-Duet) ...... Anschuetz. money, and he spent it as freely as he earned it. Our readers are already familiar with the solo of He was a~pointed conductor of the orchestra at the Theatre] ranQais-a sinecure if ever there was one this composition. It is popular in character and, ·-and one evening when the musicians happened though not difficult, will be found very effective. to be wanted their chef had taken them to play a It is one of the very best duets of that grade we 3 DAIL~Tw~!lAINS 3 waltz in the salon of a reigning beauty who bad have ever beard. Played by Gilmore's. band. asked him as a special favor to gratify her whim in that manner. The escapade met with a rebuke from "THE SoNG OF FIONNUALA,"...... Armstrong. the manager of the FranQais, but it did not pre- Mr. Armstrong is a talented young composer, of -vent Offenbach from receiving his salary as chef St. Louis and Kansas City d'orchestre of the leading theatre six months after whom the public will hear more. His setting of he had left it to take over the Bouffes. Offenbach Moore's romantic words deserves commendation. EQUIPPED WITH was in the habit. of spending his holidays at Ems, "LovE's ToKEN" (Caprice)...... Drysdale. where he met Meyerbeer. He was the only person with whom the composer of the 'Prophet' conde As a salon composition, pleasing and not very Pullman Buffet Sleeping Cars scended to speak, for in order to keep away the difficult, this will commend itself to those who --AND-- crowds of_people who wanted to talk'with him dur care more for tunefulness than for depth or origin ing his walks, Meyer beer placed a respirator on his mouth and .Pretended that his voice was gone. ity of expression. Even in these respects however, FREE Reclining Ohair Cars, When the hvely little Offenbach, however, came it is superior to the average of the works of that Making Direct Connections for all points in the Far West. near, Meyerbeer lifted up his respirator and talked class. It has been carefully edited, fingered, like a Frenchman. The memoirs of Offenbach, had phrased, etc. they been written ,. would have been a mine of in TH~ teresting details concerning the statesmen, the "GREETING TO SPRING," ...... Kroeger. • musicians and the litterateurs of the Empire, as well as the au then tic history of those operettas which An excellent composition, like all of Mr. have attracteu crowds to their strains wherever Kroeger's, and not very difficult to play. Pupils of they have been played." good intelligence who have faithfully 1·1·acticed IRON MOUNTAIN ROUTE ------+---+------for a year and a half will be able to play this IS THE ONLY LINE ROYALTY AND MUSIC. satisfactorily. '1'0 THE "THINE FoREVER" (Nocturne in A flat), Loeschhorn. HE Emperor of Russia is a first-class cor net player. He once accompanied Nils This melodious composition will well repay the son in one of her songs, and not long ago, study that may be expended upon it. Its best Great Hot Springs of Arkansas when singing before him. she sang the introduction to those who are not acquainted with same air, much to the gratification of the And offers choice of Emperor. The Queen of Belgium is a de it, is that they should play it. voted musician. The pieces in this issue cost in sheet form: The Emperor of Brazil maintains an TWO ROUTES TO TEXAS POINTS Italian opera out of his own purse, and he has one ''MINUET" ...... Scharwenka, .25 of the most complete operatic companies in the "BARCAROLE IN G MINOR" ("June") With four Daily Trains. world. op ...... Tscha'ikowski, .35 The Emperor of Austria also spends over a mil ''OuR BoYs" (March-Duet) ...... Anschuetz, 1.00 lion of francs a year on the Vienna Opera House. "SoNG oF FIONNUALA" (Words by Moore) Rossini used once to compose a trifling melody Armstrong, .25 every year for the King of Portugal. Everybody "LovE's ToKEN" (Caprice) ...... Drysdale, .60 '' GREETING TO SPRING'' ...... Kroeger, .35 BENT PIANOS. knows what a passion the late King Louis of Bava ria had for music. "THINE FoREVER" (Nocturne in A flat) (PAR EXCELLENCE.) King Oscar of Sweden has a magnificent basso Loeschhorn, .25 voice, and sings like an artist. Here are one or UPRIGHT AND SQUARE. two facts respecting the taste for music in the Total ...... $3.05 ADDRESS: present sovereigns of Europe. The Emperor- of Germany, for instance, adores OR. M. BENT & CO.,<:> music, and never misses an opportunity to hear Patti or any other celebrity. He always goes be MANUFACTURERS bind the scenes after the performance to thank THE STERLING ORGAN CO., the artiste. R. W. BLAKE, Gen'l Mang, 453 W. 36th Street, NEW YORK. Her Majesty is also a great amateur of music, THE POPULAR and sings very beautifully. She was a pupil of Lablache, and he used to say that if she was not American Instrument. IREN.lEUS D. FOULON, Queen of Great Britain she might be a queen of CONTANING song. The late Prin('e Consort's passion for music THE FAMOUS CHIMES OF is well known. He made Mendelssohn known in . SWISS :BELLS. Ene-lancl and protected him. Attorney and Counselor at Law, The Prince of Wales is also a good musician, and Factories, Derby, Conn. the Princess of Wales is one of Halle's best pupils. N.Y. WAREROOMS, The Duke of Edinburgh, as we all know, could earn 219 Chestnut Street, his living with the violin if necessary.-Court 7 and 9 W. 14th St., Journal. E. H. Kc!WIN A; CO., Kan'il• ST. LOUIS. P. Tschaikowsky ~ Op.37. 5 - -~ - 5..- 4 ·copyrighLKnnke) Bros.1887. Pot·a pi.'iL rno.ttt.so J-138. I) ~. \~ '.l'empo L J_U2. ------ < -~== I ------3 ~.iU), ~.~. -~. .. .. ~ Philipp Scharwenka. Mode7•ato. J -112. 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Copyright_ Kunkel Bros. 1881. ..~ ------~ ------~ When shall the swan, her When will that day star, dark _ ness furled! peace and lovel (';\ a lt!lll}JO. rinji•J•Z. heav 'n; its. ring..ing, heav'n, its ring_ing, ~ - I Ped. :~'f. -_;;: > ) ' U.:'\~SERE JUNGBN~ (FANFARE MILITAIRE.) Secondo. otto Anschutz. 5 f) '.l'e'tllpo di ltCar~a. J-132. 4 2 J 3 2 1 ') 2 1 1 . (,. 2 &, 1 ..,. _4 1 . .... ~ :~_ $: $. $ $ 'Z: ,.. +·~. t I. ..., .1/M,l . l ..1 . • • ·-= , u I - · J , -- .a/ I - - - - r -< j' .,. .._. . .'F - ' - •• .1/M,l ..fW' I l]l - "' t I "' ~ r"' • I - - - ..:: .. ..:: ::;~ ~ -=~-- :; . :;t ' .. .. ~ =~ ..,~ :t · ~1" '"Jio =· -i; ~~ .ii" ii= . -. .. =·"1~ . .. . ----- . .11 va . =j~ = ·6 5 5 3 4 3 i 2 1 .- .~ _.,_ . ·f Q 3 5 •. $ -~ ., -~ ...... -i. 'fl...... ~ 1 I""' I"" , I I • • • .... ~ ., - - ..; ~ crf!S. ..~~ ~ . J .. , ...... I. • 1 .. I I -1- ..::. ..::: - - - - ' . :;· =4 ~ "1 11"" '1~'- "1" 3 ~~ =j= :j ...i - ...j Ped. .,)t,. ~ . I 992-8 ~pyright_ Kunkel Bros.1887. 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'-' '" --1 .. ... • - Ped. - ~- ~· 4 KUNKEL'S MUSICAL REVIEW, DECEMBER, 1887. 473 POETS AND MUSIC. trumpets," the ~~ boisterou~, festive cl~rion," the "far-heard clanonet" (said of an mstrument -- whose carrying powers are phenomenal), the DR. JAEGER'S T .is natural to .sul?pose that tJ;le faculty of ·"shrilly mellow sound" of flutes, a~d "tou~h the rightly appreCiatmg ~he mustcal cade_nce strings into a mystery " are expressions qmte be SANATORY WOOLEN of a verse implies also the P<;>Wer of enJOY- yond the reach of the poets who like that kind of ing instrumental music. ltis anteqedent- music which mingles pleasantly with the rippling ly improbable that an ear · so delicately of the brook or the lapping of the lake waters. constituted as to delight in the fine and Charles Lamb who was possessed of a finer ear elusive harmonies of "Kubla Khan" for t.he musica'l cadences of speech than many a UNDERCLOTHING! should be insensitive to those of the poet has been equipped with, confesses that he "Eroica" srmphony. Yet that the two endow- had no ear for music, and even that he suffered FOR MEN, WOMEN AND CHILDREN. ments are distinct, and are formed apart from ~ne keenly from its" measured malice." Instrumental EXCELLING in QUALITY and FINENESS of WOOL. in another, we may see daily in our intercourse With music or even vocal music unassociated with SOFTNESS and DELICACY of TEXTURE any that have our friends and acquaintances. Nay, more i .not words' to interpret it, appears to have been quite ever been offered to the public. The structure of the fabric is only the lovers, but the very creators of music~ 1 devoid of meaning to him. He compares it with a verse have sometimes been virtually deaf to music book in which only the stops are printed, the such as to impart a .GLOW OF HEALTH and AVERT THE properly so called. The author of" Kubla Kahn" reader having to supply the verbal matter; with DANGER OF TAKING COLD FROM SUDDEN CHANGES and of "Christabel," poems which have never an empty frame for which the imagination must AO PECULIAR TO OUR CLIMATE. been matched for haunting charm o~ harmony and paint the picture. He admits, it is true, that there Indorsed and highly commended by the leading physi- cadence, had but a dull ear for music. A concert- were times when" his heart had melted at the con cians of Europe and America. room was to him a" heartless scene," where those course of sweet sounds," and that especially there We solicit inspection and correspondence. who feel" music's genuine power" were not to be were two tunes that never failed to move him Descriptive illustrated catalogue 8ent free. found, and from which he Ionge~ ~o escape. For strangely, but he had self-knowl.edge enoug~ to The sale o! these goods for St. Louis has been plnced'exclu what? "To hear our old musiCian, ~hnd and enable him to ascribe the emotiOn to the right sively with gray," playing Scotch tunes by moonsh~ne. And source-association; they were the songs, he tells to dance thereto" amid the tedded hay with merry us that were sung to him (and, of course, they had CIBERT BROS., maids whose ringlets, etc.~'' ~r ~o hide behind. the w~rds) when he was an ''imp in long coats" at 60{ Olhe Street and 613 Wushillgton Ave., ST. LOUJS, lJO. alder-trees while Edmuna, sittmg hard ~y m a Christ's Hospital. boat, "breathes in his flute sad airs so wild 'tnu Wordsworth, whose solitary song is the very slow!" Or, hest of all, to hearken to "Dear Anne" echo of the voices of nature and of the sounds of singing a" ballad of a shipwrecked sailor "-.best lonely hills and wind-haunted moors, has observed of all because her voice resembles the song of birds, the fascination exerted bv the fiddler of Oxford the whispering of trees, the murmur of wind, and Street on the Baker, the 'Prentice, and the Lamp the moan of the water in the sea caves. The music lighter, and has written with a genuine enthusi he loved was not, we see, the music that is an art asm on the brightening power of song; but he and a science, but the music of nature and the ele- apparently regarded "studied harmony" as apt ments; and because he loved, understood, and to be a" voluptuous influence that taints the bet could interpret the latter, he held in co_ntempt ~he ter, purer mind," and is soon. lifted on ~he wings former, which lay beyond the range of h1s faculties. of verse into the more congemal harmomes of the The study of music has advanced immeasurably winds a.nd of deep calling unto deep. •Nor, in de siJ?-Ce the days of Coleridge, but ho~ common to tailing all the_ influences. that shape~ his spirit, thts day among men of letters and of general cul- and in recountmg the vanous entertamments and ture is this contemptuous attitude of the mind in studies with which he diversified his visits to Lou regard to it. Many a man who would shrink from don and Paris, does he mention the divine art save owning that he has no knowledge of or l_ove for the once, and then in the single word" music," which art of painting will confess with alacrity, and al- he slips in significantly between the panorama and most with a show of pride, that althou~h he likes pantomine, passing on immediately with infinitely to hear his wife sing a ballad, he has himself not greater r.elish to tlie giants and dwarfs of Sadler's much ear, and has not studied music. To him it Wells. Nowhere does he give evidence that he No. 444, Closed. is hardly worthy the devotion of a man's time and demanded music for himself as an interpreter of zeal, but is a pretty accomplishment for a lady. life or felt, as Mr. Browning says, that- Or even if he go a little further, and claim to love ' "There is no truer truth obtainable a melody, how often will it prove that the melodies By man than comes of music." he loves are those which are as familiar to him as his armchair, and have become endeared to him The poems of Shelley teem with allusions to solely by association with old times and happy music which reveal a spirit sensitive to its influ moments? It is not the work of art that he ad- ence, as it was sensitive to all fine influences. But mires, it is the memories awakened by the tune the home of music is amid the rumor of crowded that make him happy. While, as for the profound cities and Shelley's tastes led him into the soli laws of beauty, in obedience to which the com- tudes'of nature, or into the society only of the fit poser has worked, as to the evidence of creative and few. Such delight, however, as he felt in the mtellect revealed in the composition, he knows art inspired him to write some very lovelylines on nothing of them, and desires to know nothing. no better a theme than the tinkling of Mrs. Wil The deep enchantments of instrumental harmon- Iiams' guitar. It is perplexing to observe that the ies are to him as pictures to a blind man. The poet of our own day, who is most thoroughly con passion of the strings, the pastoral purity and sim- v..ersant with music. and loves to make it the sub plicity of the woodwind, the enchanted melancholy ject of his poems, is also the author of the least of the weird and elfish French horn, and the splen- musical verse ever penned by a great poet. did masculinity of the more resonant brass, these L. G. and the other infinite resources of the orchestra No. 444. Open. come not within his capacity to appraise or to enjoy. OUR BOOK TABLE. It is curious to note the conventional character of a large part of the references to music in the THE THROAT AND THE VOICE. BY PROF. J. SOLIS COHEN, works of our poets, and to trace the source of their M D. PHILADELPHIA: P. BLAKisTON, SON & Co. Pp.l55, 12mo. Price 50 cents. This little work, while of special interest to pleasure in it to association of ideas. £olian singers contains so much of important matter in reference to strains, Amphion's lute, the lyre of Orpheus, the hygiene of the throat and air passages that it should be in Type-Writer Cabinet and Des!\ Lydian measures, pastoral pipings-all these, and the hands of every family. The simplicity and clearness of its language shows that the author is a master of his subject and COMBINED. many other such, are touched upon again and needs not to use pedantic technicalities to make himself ap again with evident pleasure, but the pleasure is pear learned. The work is divided into two parts: the first derived from association, and the association is treating of the diseases and hygiene of the throat, the second A .Perfect Desk in all its details, and a perfect here with ancient classical literature. Again, we of the voice. Its scope can best be seen by a reference to its Cabmet for your Type-Writer. Automatic in find another class of references, which may be in contents. Part First is divided into fifteen chapters, as fol movement; absolutely perfect in construction and lows: General Construction of the Throat, Care of the Throat, fini~h; simple, durable and handsome. Invented dicated by music and moonlight, music on the Acute Sore Throats, Diphtheria. Croup, Acute Laryngitis, waters, minstrelsy of the woods; and here again Chronic Sore Throats, Enlarged Tonsils. Chronic Laryngitis, July, 1887, and have so far sold as fast as they could the pleasure is derived from association, but the Foreign Bodies in the Throat and Windpipe. Morbid Growths be produced. of the Throat and Windpipe-Paralysis of the Throat; Spasm Large 100-page Catalogue, free. Postage, 7 cts. association js with the beauties of nature, a llttle of the Throat, Neuralgia of the Throat, and Naso-Pharyngeal .. charm of sentiment being added to these by a Catarrh. Part Second is divided into nine chapters: The vague murmur of music. Rare, indeed, it is to find Voice, Acoustics of the Voice, Varieties of Voice. The Vocal Organ Vocal Culture, Improper Use of the Voice. Vocal Gym· T"VLER DESK: CO. a poet who reveals in his verse that he has lis nastics, Defects of Voice. and Care of the Voice. Eighteen tened to music with a musician's ear. Keats, in drawings illustrate the work. We reproduce elsewhere the St. Louis, Mo., U. S. A. deed, with his preternatural rapidity of seizure chapter on the "Improper Use of the Voice," not because it is upon the inner secrets of beauty, at once occurs to the best, but because it is appropriate matter for a musical journal, and of practical utility to vocal students. The book the mind as an example of exception. "The music, contains much that everybody should know and that would LERDESKco· yearnin15like a god in pain," is, perhaps, the finest save the voices, the health, and even the lives of many, if • LOUIS, MO. single hne descriptive of a burst of noble orches known. MANUF'Rs OF FINE DESKS BANK COUNTERS, tral music that has ever been written-interpreta CIVIL SERVICE REFORM Ass'N OF Mo. SIXTH ANNUAL RE tive, inspired, and inspiring. The epithets heap PORT, The really humorous character of this publication does G~~~:Ni~~T-:g~~E, plies to single instruments, too, are indicative of not appear upon its surface. It is there, however, not only in and OFFICE FITTINGS, an ear educated to something higher than mere the body of the report, but also, and especially, in the names BestWork & Lowest Prices of some of the opponents of" the spoils system" who grace (?) Guaranteed. 100 p, Illust'd "music on the waters." The "silver, snarling its pages. Catalogue, Finest ever printed, sent free, Post&ge 7~ 474 KUNKEL'S MUSICAL REVIEW, DECEMBER, 1887. STULTZ & BAUER, MANUFAOTURERS OF ALFRED DOLGE, Grand, Square &Upright piano-Fo~tB ~BtB~iBI$ PIANOS. -AND- FAOTORY AND Tuners' Supplies. WARE ROOMS: · 338 & 340 East 31st St., CORRESPONDENCE. 122 E. 13th St., NEW YORK. BOSTON . BosTON, Nov. 21, 1887. EDITOR KUNKEJ:s MUSICAL REVIEW:-If I were to tell you NEWBY & EVANS, of all the piano recitals and small concerts given in Boston this month, I should require the whole issue of this REVIEW to turn around in. Frau Musica htV! settled down in Boston for the season, and two or three concerts daily no longer , CARD CASES, POCKET Kl\IIllES, cause dismay to the reviewer. Among the piano recitals I must say a wordp_f praise for those of that sterling musician Carl Faelten, whose programmes have been highly interest ing. classical and well carried out. Mr. W. Waugh Lander UPRIGHT PIANOS bas, in two recitals. given evidence of the possession of a Fine Stationery most brllliant technique. Mr. Sherwood deserves great praise GIVE UNQUALlFIED SATISFACTION. because, in two of his recitals, be devoted himself to the American Muse. The native composer needs to be fostered .a They are Durable and Well Finished. FOR THE HOLIDAYS. little, and it will not be very long before American musicians will rival American painters and American literateu1·s. Chamber concerts begin to-night with the first of a series by SCHARR BROS., the Kneisel Quartette, which is among string quartettes, as Factory, 524 to -528 West 43d St., NEW YORK. great as our orchestra among symphonic organizations. liEU"' SEND FOR CATALOGUE. -a 7 tll and Olive Streets. Apropos of symphony, Boston has been agitated, for our leader-Mr. Gericke-became ill two weeks ago. Our sym phonic progress in the last two or three years is wholly due to the indomitable will, and great musical ability of this MATHIAS' mau. I am glad to say that the attack-a mild fever-soon passed by, and Mr. Gericke is himself again. The lapsus " however, caused a postponement of the Brahm's C minor LINDEMAN 8t, SONS, Symphony, and somowhat lightened the programmes of the PATENT PIANO FOOTSTOOL, MANUFACTURERS. OF lastconcerts. The only especial work requiring notice is the Dvorak Sym,.Phony in 0 minor. I did not like the work last WITH PEDAL ATTACHMENT FOR YOUNG PUPILS. year, I like It better now. A wise man changes his mind ; a Gra.nd, Cycloid, Squa.re and Upright fool never does; let me hasten to be a wise man and make a This Footstool should be witl partial recantation. The excellence of the woodwind and every piano on which childrer brass (the former being greatly improved this vear) may are to play. Highly recom have had something to do with the better impression. As to mended by the most prominen• PIANOS. soloists at this concerts, they have been better than hereto teachers-among others.; S. B fore. Mr. C. M. Loeffler was perfect in the violin part of the Mills, Fred. Brandeis, Chas Spanish Symphony by Lalo, a sort of violin concerto in the Kunkel, Louis Staab. A. J. Davis 92 Bleecker St., NEW YORK. suite form, and Madame Teresa Carreno who played Chopin's A. Paur, Chas. Heydtmann, H E minor concerto was full of fire and power in the piano 8. Perkins, W. C. Coffin, etc. work. She used Rnbato effects rather freely, but Chopin's works can bear that, and I did not agree with the rigid classi .u-:send for Circulars. cists who wanted a stricter interpretation. Most enjoyable was a. concert which Madame. Carreno gave L. MATHIAS, 806 Snmmit St., Toledo, O, at the New England Conservatory of Music durmg her stay in Boston. She visited the institution for the first time and was amazed at its size and working!!, and gladly gave the students EDWARD G. NEWMAN, an impromptu recital. The students can congratulate them selves, for there have been many great artists visiting them Jbnufa.oturer of FIRST-CLASS lately, and r;ome have even gone so far as to invite them to F. CONNOR, their concerts in the city. '1 he regular concerts at the Con servatory go on constantly, and here, if anywhere, can be :Ma.nufa.cturer of FIRST-CLASS found, what many believe does not exist in America-a musical atmosphere. Campanini has been here, and has proved beyond a doubt ~PIANO ·FORTES~ that Italian music is not dead yet. He had an excellent troupe with him, and his O\Vn voice is almost restored. He has, however, to be conservative, where he used to be fervid No. 54 East 13th Street, and enthusiastic. Scalchi sang better than ever. I really think her very dissimilar registers are beginning to unite ----(NEW YORK.) ----1 and blend. Galossi is still the best of baritones. J oseffy 237 & 239 E. 41st STREET, came aloug with the troupe, (Saul among the prophets) and played some small works in his wonderfully delicate way. NEW YORK. Signorina Torricelli the violinist came with the troupe, quite unheralded, but for all that. I think her nearly, if not quite as good as the much vaunted Tua. She depends on virtuoso ~------~ work in Tua' s manner, and does the usual tricks of harmon ics, pizzicato with bowing, runs, and other violin fireworks in Jesse French Piano &Organ Co. the style which pains the critic and captures the audience. I say it pains the critic, for the violin is made for nobler work than mere pyrotechnic display. As regards Tua's concerts, J. & C. FISCHER, General Southwestern Agents for the they were rather poorly attended, and the young lady was rather coldly received by the reviewers. Nevertheless I think Manufacturers of U N" :Fl. X "V" .A. L X.. E :J:> her very able and brilliant, but feel that she is in the wrong school-on the wrong road. If she would only copy the style of Madame Norman Neruda (probably the greatest living CHICKERING PIANOS, lady violinist) she would see that artistic work may be com bined with virtuosity, but virtuosity must take second place . Wholesale and Retail Dealers in I hope that so promising an artist may not be lost by caring too much for applause and too little for true music. COMICS. Warerooms and Manufactory, 415 to 427 W. 28th Street, NEW YORX. Pianos AND Organs DARKEY HYMNS. OW many people know what a darkey An immense stock always on band, hymn is? We often see alleged ones in in which are represented all the print, such as "One more Ribber to JARDINE & SON, BEST MAKES. Cross," as also others of like ilk, some times beautifully expressive songs as ORGAN BUILDERS, ''I'm the Child of a King;" but neither Prices and Terms to Suit Purchasers. class is properly darkey hymns. For a 318 & 320 East 39th St., N.Y. true darkey hymn is one not only sung LIST OF OUR LARGEST GRAND ORGANS. Special attention given to .Renting New by a negro, but composed by him and sung in the Fifl;h Ave. Cathedral, N.Y•• ~ Manual1. colored church. Though such hymns sound very St. Geor~e ' s Church " ~ " Pianos. Correspondence Solicited. ludicrous to us, there is never any intentional St. Pauls M. E. ChUrch, " ~ " comic element. This summer, while visiting in ~~ih fv~~~~~· Church, :: ~ Eastern Virginia, I heard the servants singing Brooklyn 'l'abernacle, ~ No. 1100 Olive Street, their peculiar melodies, and endeavored to obtain ~~t~~~:f~~~ required by their white sisters), but were quite shy C~ A. ZOEBISCH & SONS, of pen or paper, and very reluctantly repeated any Importers of and Wholesa.le Dealers in of the words they had sung when they saw that they were being reported. Here are a few specimens I copied while they MUSICAL INSTRUMENTS, STRINGS, &c. sang: Depot of C. F. MARTIN &. CO'S Celebrated GUITARS WHO'LL BE THE LEADER? "BOl!llU4" GENUINE "Ml!lYl!lB" & "ALBBl!lCB'l'" FLt1'l'ES and PICCOLOS. I. No. 46 Maiden Lane, NEW YORK. Who'll be the leader when the bridegroom comes? Chorus: Who'll be the leader? .All the newest styles of BRASS and GERMAN Who'll be the leader? SIL YER Inst'l'l.tments constantly on Who'll be the leader when he comes? hand or made to o1•der. II. There were ten virgins when the bridegroom come. Chorus: There were ten virgins, etc. DECKER & SON, III. (ESTABLISIIED 1856.) Five of them were wise when, etc. ORAND, SQUARE, AND UPRICHT IV. PIXl.AIN"IOISl. Fl ve of them were foolish, etc. Endorsed by all the Prominent A:rtists, Musician~, and v. Oritics for Tone, Touch, and SuperiOr Workmanship. ''Give us of your oil,'' said tb e foolish to the wise, etc. The Highest Standard of Excellence Attained. VI. and Maintained. ·'Go buy it for yourselves," when the, etc. FACTORY AND WAREROOMS. 1550 Third Avenue. Cor; 87th Street, New York. VII. CAU'.riON.-No connection with any other house of a simtlar name. Christ Jesus'll be the leader when the bridegroom comes, etc. 'rhe melody of all I heard was.of the same order, low and sing,song, but with a weird tone, a long drawn-out rhythm that reminds one of the sough of the wind, and is delightful to the ear. They often have only one line to a verse, with an abund ance of chorus as in the specimen given, a fact easily explained when the origin of the hymn is found out. A preacher, after preaching on the ~OLE "Parable of the Ten Virgins," starts off this new hymn, expecting the congregation to. quickly catch MANUFACTURERS up the chorus. Neither his own power of extem porizing nor his hearer's powers of memorizing OF THE will allow long stanzas. Their ability to carry the different parts in these new choruses is wonderful; "BIJOU" AND "SEPARABLE" one hymn, though deficient in rhyme and gram UPRIGHT PIANOS. mar, was fitted to a tune of their own manufacture, Full Iron Plate. Action will stand climatic changes. which would delight the souls of any musical Factory, 833 & 335 W. 8oth Street N y k quartet: Warerooms, S. W. Cor. 34th St., & 7th Ave. ew Of • RED SEA. Who am dese all dressed in white? It is de comp' ny of de Isrelites. Chorus. BEETHOVEN CONSERVATORY, Red Sea Lord, Red Sea Lord, 1603 Olive Street, Red Sea, Red Sea, Red Sea, Red Sea., Red Sea, Red Sea. II. All br.anches of music taught at this Institution What am dat in :Moses's hand? and every one represented by a first-class . Moses answered, ·• Natural rod." TEACHER AND PERFORMER. Chorus. 7'his Conservatory keeps open all Summer jor the accommodation of pupils and such teachers as wish to III. perfect themselves during the Summe1· Term. Dar! Moses he done 'fused to go, 'l'UITION-$15 aud $21 per quarter either for In 'l'o take de word to old Pharo. strumental or Vocal lessons. Schoiars may enter at any time. The beginning of their quarter com Chorus. mences with the first lesson they take. Send for circulars. And thus it continues until the whole Bible ac count of the deliverance of Israel is versified, for they will sing for hours the same hymn as long as J. S. BARREIRAS, General Agent, the poetical powers of the composer add another 1580 OLIVE STREET, ST. LOUIS, MO. stanza. Not all their extemporaneous efforts are RIDGELY & ao. taken from the Scripture, for here are three verses from a very effective revival tune, made still more effective by a catch in their breath, like a sob, in 75 and 77 Worth Street, each line, and by the swaying of their dark forms T. BAHNSEN, as they keep the time. NEW YORK. I had a sister who lately died, She fell from 'bundant grace supplied; MANUFACTURERS AND IMPORTERS OF But she would f!o to de balls and play, Piano Warerooms and Factory In spite of all her fren' s would say. A few days' sickness tore her down, And death prepared her for de groun'; PIANO COVERS She called her mudder to her sic e, NO. 1520 OLIVE STREET. Said, "Mudder, mudder, pray for me." "No use, no use, I tole you so I AND SCA.RFS. I can't do no good now, I know;" .t u tite§ sepaPRU!&. · Tho' hell may ring with vengeance spite, wu, Christ will save your soul to-night. ~?-ad stood an amused listener, but more inter Pianos ·Repaired and Tuned at .prices THE ~ lthe:r girl knew. He was enough of a business 'There is a very sudden and triumphant change ' 'Yh1c~ reaso_n~_ng_wa~ . ~ru~ ~cpn!Jmy1 and it is_not that defy competition. of voice in this last verse, it bemg generally chanted as the backslider comes forward a pem tent. And right here, in connection with these PIANOFORTE MFG. co. HENRY KILCEN, sentiments about the "balls and play," the ques tion, what is the test for church membership ALBANY, NEW YORK. Church Organ Builder, among the negroes? can be answered. A church member must rigidly abstain from dancing, song Manufacturers of Firs·t-Class Pianos. No.1 706 Market Street, St• . Louis. singing and other worldly amusements, and must pay regularly his church assessment.-Christian at Work. HENRY RUSSELL, President. Tuning and Repairing promptly attended to. J. V. MARSHALL, Superintendent. Have on hand a New Organ of 12 Stops-enclosed llNotice advertisement of Gustave L. Becker. The "MANU- HARVEY :WENDELL, Man. and Treas. in swell a•nd 2 Oombinution Pedals. lllONEON" is endorsed by the best authorities. . JO~N LOUGHRAN, Se~etuy. 47.6 KUNKEL'S MUSICAL REVIEW, DECEMBER, 1887. ~ Grand, Square STECK and Upright. ~ -~-----~ ------ Faetory: 34th Street, bet. lOth and 11th A~enue$. M. MAsSENET's opera" Le Cid," recently performed for the \ first time in Germany at the Stadt-'l'heater of Frankfort, has I WAREROOMS: No. 11 East Fourteenth Street, NEW YORK. met with a most favorable reception. 'fhe composer was \ present, and the performance is s1ud to have been excellent. GoETHE's "Erlkrenig" has been set to music no less than twenty-five times. The Hamburg Tonkuenst!erverein recently performed nineteen of these compositions in the chronological order of their composition. Schubert's master-work was un deniably the favorite. MR. FRED. KRANICH, the son of Mr. Kranich, of Kranich and J. G. Earhuff Organ & Piano Co. Barb, called at the REVIEW office while on his maiden trip as supervisor of agencies. He is a most agreeable and intelli Manufacturers of the only gent young man who will make his mark in the piano trade, a ABSOLUTELY MOUSE AND DUST PROOF worthy ''chip of the old block." UNDER the ironical heading of "Munificent," the Wifner l<'remdenblatt announces the fact of the Court of Common Council of Vienna having just ~ ranted a monthly 111lowance of five florins (eight shillings) to Josefa Lange, a grandniece of Mozart, living in needy circumstances in the Austrian capital. THE Paris municipality have again, as in previous years, .,~:Q!:!Q.~~~:::~ offered a prize of 10,000 francs for the best choral and orches IN THE UNITED STATES. PAT. JULY 6th, 1886. tral work, which is to be eventually performed in, and at the expense of, that town. Paris, in this. matter, is setting an ex 5 J, 53 and 55 Pearson, near Wells Street, CHI CA. GO, ILL. ample which might be imitated with advantage to the art by other European capitals. KARL MERZ has been heard from. He says: "Leisinger's defeat in Paris will make her thousands of friends at home." In other words, "at home," among the intelligent and un· CONOVER BROS. prejudiced art lovers of King Willia.m's capital, the report of Parisian hisses will take the place of voice and talent. Well, ~MANUFACTURERS OF~ "An open confession is good for the soul," brother! ONE of the art pictures in Brainard's World for November is the title-page of a Sunday-school song book, entitled "Green UPRIGHT PIANOS. Pastures for the Lambs." On the left hand, a very stiff' little Among our valuable im{)rovements, appreciated by pianists and' salesmen, are girl is driving some lambs to pasture. The second "lamb" in our Patent Action, Patent Metal Action Rail and Patent Telescopic Lamp Bracket. the flock sports a gig11ntic pair of horns. He must be one of Our Pianos are endorsed by such eminent judges as Mme. Rive-King, Robt. the "spring lambs" one occasionally meets with in the form Goldbeck, Chas. Kunkel, Anton Streletzki, E. M. Bowman, Gustave Krebs, G. W. of leathery chops in some of our restaurants, Steele, Hartman, of San Francisco, and many others. WoRDS afford a more delicious music than the chords of any instrument; they are susceptible of richer colors than any 8G painter's po.lette; and that they should be used merely for Manufactory and Warerooms, 400 402 W. l4tb Street, Cor. 9th Avenue, the transportation of inte1llgcnce, as a wheelbarrow carries N'E'VV Y"C>B..::E£. . brick, is not enough. The highest aspect of literature assimi lates it to painting and music. Beyond and above all the do main of use lies beauty and to aim at this makes literature an art.-T. W. HIGGINSON. BAHNSEN has taken a partner, Miss Alvina Morgens. The name of the firm is as before, Bahnsen, the partner having le gally dropped her own name and assumed that of the g~nial piano manufacturer, for life. We had an item about Bahnsen's Henry F. Miller forthcoming, new style baby grand, but, under the circum :stR.nces, at his special request, "for fear the rest of the boys might misunderstand it," we have postponed its publication until later. To retu n to the subject. we sincerely congratu PIANOS. late ''the high contracting parties," and wish them much MANUFACTURER happiness. THE personal friendship which existed between Wagner and Offenbach was brought to an abrupt termination by the J. A. KIESELHORST, following characteristic correspondence. 'I' he German maestro hnd sent to the author of the "Contes d'Hoffmann" a copy of _General Manager for St. Louis, his book entitled • The Reign of the Israelites" in music. Offenbach could not read without irritation the collection of extravagant statements made in that volume about Mendels 1111 Olive Street. sohn, Meyerbeer, Halevy, and other Jewish composers, so he GARMENTS. took his pen and wrote these simple words: "I think, my dear Wagner, that you would do better to write music. JACQUES OFFENBACH." In reply to this laconic missive, Wagner sent the score of his "Meistersinger." Offenbach replied as follows: "After long reflection, my dear Wagner, I am quite con. vinced that the best thing for you to do. after all, is to write books. JACQUES OFFENBACH." IN course of a letter to the Journal des Debats, H. A. Taine PIANO DACTYLION. makes some interesting and brief comparative comments on French and English authors in the department of belles-let A new invention of great practical value and ters. M. Taine concludes . .. I believe that English poetry, real benefit to the l'ia.no Player. especially lyric and narrative poetry. from Byron, Keats and To strentrthen t.h.- ih,.,...,. ..a Shelley to Tennyson and the Brownings, stands first in Eu rope. As a compen!'ation, we have in France the two greatest - An immense stock always on lJ living dramatists. M. Angier and M. Alexandre Dumas. In prose, the French seem to me, at least, to equal the English. in which are represented all I regard Balzac as the most powerful creator of souls since _ _ --~w&~~ ....,.~!';'P-~.JuT:/i;'fi£"Ia001o Shakespeare; no critic in any literature can be compared to Used, endorsed, and highly recommended by the Sainte-Beuve. I consider 'La Chnrtreuse de Parme.' as a mas best of Pianists and Teachers, among whom- terpiece of literary psychology, the greatest which has ever - MAD. JULIE RIVE-KING. MR. S. B. MILLS. been published in any language. As for style and expression MR. CHAS. KUNKEL. MR. H. G. ANDRES. (rendu), for intensity and coloring,' Madame Bovary has no MR. ARMIN DOERNER, MR. OTTO SINGER. equal. Five writers and thinkers, Balzac, Stendhal, Sainte MR. GEO. SCHNEIDER. Beuve, Guizot and Renan, are, in my opinion, of all men since Montesquieu, those who have added the most to the knowl · Introduced at, and used by, the different Col- edge of hum~tn nature and human society. We are now at the leges of Music in Cincinnati. , close of a literary period; yet. besides three novelists and AG:ZN'l'S WAN'l'l!lD l!lVl!lBYWIIEBl!l, Send for Olrculm. poets, we see maturing- several writers of superior talent-M. Lavisse, M. Sorel, M. Thureau-Dangin. . . . I think it can L• E. LEVASSOR, Manufacturer, be affirmed that, in the universal exposition of literatures, 14 W. Fourth St., Cincinnati, 0. France has presented to the world, during- the last sixty years, as many ~reat ideas and as many beautiful forms as the most illustrious of her competitors. "----- KUNKEL'S MUSICAL REVIEW, DECEMBER, 188'1. 4'1'1 IN a treatise on music, John Hullah lays it down as a propo sition not to be disputed, that the contraltos are generally su perior to sopranos, not merely in musical knowledge, but in power of attention, patience and spirit, and for the reason that an inner part, that is, a part between soprano and basso, catches the ear less than an upper part, and there is no deal STEINWA Y PIANOS ing with it without using one's mind. It follows that, other things being equal, a contralto should be intellectually gifted with a clearer insight than a soprano -into the meaning of a musical composition. PROCHAZKA (Choctaw for Modesty) makes a weak attempt, in the last issue of what he imagines is a musical journal, to J. MOXTER & co. strike a blow at our publishers over the shoulders of Mr. Robert Goldbeck. As we Go ·not believe in kicking a man when he is down, we shall, so far as Kunkel Brothers are concerned, wait until Prochazka has disposed of the ugly NQ_ 912 OLIVE STREET_ charl!'os brought against him in his wife's pending bill for di vorce, before we attempt the easy task of demonstrating his impotency (and consequent jealousy) in music and literature. As to Mr. Goldbeck, however, common fairness demands that we should say openly, now_, that, whatever his idiosyncrasies, he is a musician whose snoe-strings "Choctaw Modesty" is unworthy to unlatch, as a glance at Goldbeck's simplest Steinway Pianos, Gabler Pianos, Kurtzman Pianos, Engel & Scharf Bros. Pianos works and at Prochazka's most pretentious "compositions(?)" will demonstrate to any one competent to judge. A PARISIAN journal, on the occasion of the Don Juan cen tenary, asked of the leading lights of the French school their opinion of Mozart. Here are a few specimen replies: ~We make a specialty of Benting, Tuning and Repairing Pianos. "Mozart, the most perfect of all musicians. Music it- self."-CH. GOUNOD. . ''Only three or four musicians can look Mozart in tbe face. All others must bow before him 1"-E. REYER. " I was five years old when a friend of my family made me a present of the orchestra score of Don Juan. I was fed on that master-piece; hence probably, the worship I have al ways had for Mozart, in spite1 of the tempests that have turned the musiral world topsy-turvy."-SAINT-SAENs. "I entirely agree with my illustrious confreres."-MASSE NET. We call the attention of Brother Merz to the inveterate ha of I tred of things German exhibited by the above expressions of c. Kurtzmann, Man~er Piano Fartea, those narrow-minded Parisians, and we hope he will not for get to hold these alleged men up to the ex~cration of the world and of Wooster, Ohio. IN 1687, two hundred years ago, the year of Lully's death, a pamphlet appeared under the signature of Clement Marot, known to have been written by Antoine de Senece. who was in ~~~r:~i~~em~~i~f:~~e-Therese, and the open enemy of the 106, 108 & 110 Broadway, BUFFALO, N.Y. In a few lines, which we reproduce below, de Senece gives the outlines of the modern Lyric Drama: "I maintain that it is a crying injustice to consider as the principal motor of those great spectacles him who is entitled, at most, but to a fifth CORRESPONDENCE SOLICITED. part of them. The painter who invents the sceneries the dancing-master who disposes the ballets, and even the' ma chinist, as well as he who designs the costumes, enter for their share in the total composition of an opera, as well as the one who writes tho songs for it. The tr11e author of an opera is the poet. He is the knot that gathers all those parts and the soul that gives them movement." This boutade, which was very probably unknown to Richard 10 CENT MUSIC. Wagner, is to-day cleverly used by the disciples of the master JAMBS HOGAN PRINTING CO. and contains certainly in a nut-shell the substance of his the! ory. That man Senece anticipated, evidently, without assum )ARTISTIC( 1 1 Send 10 Cents for One M ing the airs of a prophet, the theatre and lyric drama of or 30 Cents for Four USIC Bayreuth! MUslc Pieces Choice Music. jrinting stu~ograp~ing R.e2;"1.11a..1• Price, $1.85. A SLIPPER-Y QUESTION. Pres. Cleveland's March, Litho. Portrait, Schleijartlt, 40 Cts. Gen. Boulanger's March. Great hit, Rosewig, 35 Cts. ARY and Martha Shortcash were cousins and MAim A SPEOIALTY OF FINE WORK. Sweetheart Waltzes, Gipsy Baron Straus~t, 75 Cts. Adolphus Counterjumperwas in love with 'both Call Me Back Schottische. Very popular, - Fisher, 31 Cts. of them. A dreadfully embarrassing state of affairs, which was bound to come to a crisis Catalogue of 2153 pieces 10 cent Music mailed free. some day. The girls were equally charming and 413 & 41f) N. Third Street, ST. LOUIS. , Send for it. were both nice housekeepers, and while with __..Music Teachers send for Special Discount. one Adolphus was in an earthly paradise-with both he was in a state of distraction. Now, his S. R. HUYETT, St. Joseph, Mo. salary was but small, and in choosing a wife he kn.ew he must get one possessing business tact and with a genms for true economy. On that point hinged his decision as to which Miss Shortcash he would venture to wool and for some time he had sought an opportunity of test ing t. He had been repeatedly baffled, for so equal were the young ladies in all qualifications that no twins were ever more alike. Fate chooses queer instruments to work her will however and ~pair of slippers led Ado~phns to his destiny and decided for him the momentous questwn of matrimony As the three were walking down Fourth sireet one day Mary e;claimed that they had go,ne too far, as she must gei som~ shppers to '!ear to Miss Ton s party, and proposed re turmng to a certain avenue. "Ob, no," said Martha, "come with me to-'$ where I get mine for $2 50 a pair." ' "Mercy!" erie Now is the time to subscribe for KUNKEL's MusicAL REVIEW. 478 ...., KUNKEL'S MUSICAL REVIEW, DECEMBER, 1887 • CUTLER'S POCKET INHALER THE VIOLIN AND HOW TO LEARN TO PLAY IT. AND KffiTTER'S HOTEL. T may appear presumption, writes Mr. CARBOLATE OF IODINE Geor~e Purdy, in the Musical Record, in an individual to give an opinion in direct op. INHALANT position to that which seems to have been A certain cure for Catarrh, Bron adot>ted by universal consent," that the chitis, Asthma, and all diseases of the Throat and Lungs violin is the most difficult of all instru even Consumption, if taken in season. It will break up a ments;" but, after an experience of nearly Cold at once. It is the King of Cougb .bedicines. A few' • twenty years as a teacher, I trust I may be inhalations will correct the mo!t Oft'enaive Breath. Carried 4th and Elm Streets, St. Louis, Mo. as handily as a penknife; always ready. To singers it is in allowed to have some valid reason for the judgment valuable. This is the only Inhaler approved by physi I have formed when I aa_y, I do not think so f cians of every school, and endorsed by the Standard Medical That the violin and all musical instruments are IIQJ"'Thb Hotel is in the very center of tile business portion of Journals of the world. Over 400,000 in use. Sold by all dru&" difficult no one can deny; but each has ita own pe tile elty. ""R gists for 81. By mail, 81.25. W. H. SMITH & co., Propn culiar difficulty,1 and it is the want of knowledge of etors, 410 Michigan St., Buffalo, N. Y. what that difficultY. really is, which impedes the progress of the pup1l. Rooms, with or without Board. EVERY SINGER SHOULD READ I have ilivariably found that all beginners do the same things, and make the same mistakes. lt TABT~E D'HOTE (UNSURPASSED) FROM 12:30 TO is from my knowledge of this that I am mainly pre THE THROAT AND VOICE. pared to facilitate that which would otherwise be 2 P.M. By Prof. J. Solis Cohen, M. D., troublesome. . · I have observed the great difficulty of the violin Late Professor in Jefferson Medical College, Philadelphia, Lecturer on the Physiology and Hygiene of the to beginners to be the forced and unnatural posi Voice in the National School of Oratory, etc. tion of the left hand; and thia1 where they at "V:J:TT :H:U'SS,. tempt to learn themaelyes, or havmg a master who Manufacturer of and Dealer in 12mo Illustrated Cloth, 50 Cents. does not pay sufficient attention to it, is the great IIQr'Written for general readers. this little book is devoid of impediment to all progress. technicalities. It explains the Physiology of the Throat and The pupil usually feels the difficulty to be in the B••ts aad Sll•es, Voice, their proper care, use, etc., in health and disease. May bow arm; but that is, in reality, from sympathy be ordered through any bookseller, or upon receipt of price S03 SOUTH FIFTH STREET, will be sent post-paid to any address. with the left band, where the real difficulty hes. ST• .LOUIS, MO. Every one at the commencement has a tendency P. BLAKISTON SON & CO., to bold both the violin and the bow too tightly. 1012 Walnut Street, PHILADELPHIA, P A. This is very fatiguing, and prevents all freedom o1 action, which need not be the case if properly at tended to from the first. BARREIRAS' ALL EARNEST STUDENTS AND TEACHERS It is a very common remark, that on the violin Of the Pianoforte or Organ should send for descrip- all the notes have to be made by the player. This PIANO WAREROOMS, tive circular, etc., of the is true; but if the pupil be taught the value of keeping the fingers down on the strings, and mak 14'530 01i'V'e Street, ing one finger a guide for another, he will find in a ST. LOUIS, MO. MANUMONEON. short time that he has his notes ready made for him, and that the fingers fall on the right place in PIANOS and ORGANS (new and second-hand) Address, GUSTAV L. BECKER, dependently of the ear. Bought, Sold, or Exchanged, Pianos for Rent-$2.50 150 E. 82nd St., New York. This must be accomplished by playing scales and to $7.00 per month. mechanical exercises in the different keys, and cer· tain studies (not too difficult) to break the hand in to the inatrumen t. AUGUST MEYER, I have usually found, with beginners, that a hand THOROUGH kindly formed for the instrument, with an intelli Direct Route ~ent mind, and a willingness to submit to a little dry practice, are of more value than what is com TEACHER OF ZITHER, monly called a good ear, which is rather apt to lead No. 1220 PARK AVENUE, its possessor to feel for the notes. This is one of the Quick Time Office Box at Balmer & Weber's. worst habits he can acquire. I have found it very useful to a beginner to play FROM a scale, and other exercises on the third position, from the commencement. It is an easier position ~~~ than the first, and assists very materially m form ~.2.E ST. LOUIS ~] -=''''-~ ing the left hand. -< :2 ...... ,,..., __.,. It is also very useful to play scales (one octave) --TO-- up and down on one string, which gives freedom to the left hand, and consequently to the bow arm. ~~:·..., Centenni&!-- Award,~~~~~~~~~~~ CAIRO, WEST POINT, ~:;! Medal and Diploma, As regards the bow arm, every one playa at first ~;:;! jj;.:\~/:!:~•,t&~il. Old Baths Renewed. !' £ from the shoulder, which imparts acircularmotion UNION CITY, STARKVILLE, SendCor Circulars. E. J. KNOWLTON, Ann Arbor, Mich. to the bow, instead of keeping it parallel with the bridge, which should always be the case. This fault HUMBOLDT, COLUMBUS, Miss. BEST BATH EVER KNOWN. would not occur if the proper motion is given to the elbow and wrist, and the bow is not held too JACKSON, Tenn. MACON, tightly. 1235 OLD VIOLINS I · This, however, but few can accomplish without CORINTH, MERIDIAN, Violas, Cellos and Basses from Italy and Tyrol, $25 to 83500; the assistance of a master. The rudiments of good 600 varieties new violins. 50c to 8150 each; violin cases, t>Oc. to ABERDEEN, MOBILE, $25; violin bows, 15c. to $50; best Italian mountain gut violin bowing may be acquired in twelve lessons; but it strings, 20c. each;' German (No. 19) violin strings, strongest in is not until, by time and practice, in which the left the world, 15c each, or 7 for $1; varnish, necks, backs, tops, hand has attained ease and facility, that the bow NEW ORLEANS, ribs, etc.; instruction books for all instruments; fine violin re ing will be decidedly good. pairing; best assortment and lowest prices in America; send for catalogue. ELIAS HOWE, 88 Court Street, Boston. Mass. Playing in time is considered a great difficulty; AND ALL POINTS IN so it is, but not so much so as is usually thought. ' If the pupil be taught to count for himself, it be PUBLISHERS' ~dveilti~ing ~anagert comes a great difficulty; he has quite enough to Florida and the Southeast. think about without that. ADVERTIS'ING AGENT I consider it the business of the master to count KUNKEL'S aloud, and the pupil to play to it, he having been first made to understand the relative values of the H. S. DePEW, J. L. G. CHARLTON, A. L. POPE notes, and- how they are to fit the counting. 'l'raffic Manager, Gen'l Pass. Agent, When the pupil is required to count for himself, ST. LOUI~, MO. Musical Review. it will be found that he counts to his playing, in stead of playing to his counting, thus constantly PALMER'S PIANO PRIMER. A clear, concise, and exhaus Write for Rates. varying the time to suit his own facility of exe cutmg, and always hurrying when he comes to tive work on the first principles o( piano playing. Used difficulties. and endorsed by America's greatest pianists. Price in We herewith present Y.OU the valuable It is a great mistake to practice the same thing boards, 75 cents. notice that we sell the so higlily celebrated El much, under the idea of doing it welJ, before any dredge & Diamond Machines extremely cheap PALMER'S PRONOUNCING POCKET DICTIONARY OF at retail in unoccupied terrritory. Sent on trial thing else is attempted; as by playing variety, both Musical 'ferms. Price, 15 cents. if desired. Special inducements and protection the reading and knowledge are improved, and play to good dealers. Liberal discount to ministers. ing in different keys is very useful in forming tlie "KING OF THE SEA." A new song for Bass or Baritone. Singer machines cheap. Circulars and infor left hand. A charming concert piece. Price, 50 cents. For either of mation free. J. C. GEITZ, Gen'l West. Agent, the above address 1317 and 1319 North Market St., St. Louis, Mo. Mention this It will also be found, in going back to music paper. played a month or two before, that difficulties H. R. PALMER, Lock Box 2841, New York City. KUNKEL'S MUSICAL REVIEW, DECEMBER, 1887. 479 which at the time seemed almost insurmountable ( have vanished. It is a bad plan to play tunes at the outset. They are soon learned by ear, and played from memory, s z N Tl JUST ISSUED F~::l:' PBESST and so a habit is acquired of playing without tlie notes. The mechanism is forgotten, and bad habits ON BECEIP'l' OF oag_y~~!~~~~~1~ng FIFTEEN HUNDRED Ct600> ILLUSTRA are acquired, the pupil's mind being more directed to producing the tune than to the manner of doing TIONS ~~!~tlfuttf~ JEWELS, ART and SILVERWARE. it. It contains Taluable and interesting information about It is desirable that, as soon as possible, the pupil CENT& WEDDINGS, (Invitations and Anniversaries). should play easy duets in order that he may be ac customed to hear another part going as well as his PRECIOUS STONES, (Significance and Corresponding Months). own; and, as far as practicable, he should be made CENT& to do this at sight so that he may become accus & SOLID SILVER WARES, (Theirvatue andneautr>· tomed to depend on his own knowledge and re FOR sources rather than his ear, (having previously WHAT SHALL I BUY FOR A PRESENT, z ~ 0 ~ V1 ~ t-l.. ~ cc To accommodate a large number of buyers we will (JJ I until further notice, sell new pianos on payments of (JJ f-4 $10 to $25 par month to suit purchaser. Our stock is ~ (/) 0 c~refully selected and contains latest improved 0 ~ 2 p1anos of all grades, from medium to the best, in all I z 41 w - t:1 0 > 1\ 0 ...... (JJ )> ~ ~ (j) co COMICAL CHORDS. J8 0 :J 0 0 styles of Sq,uares, Uprights, Cabinet Grands, Parlor 0 C/l Two straight lines through a letterS 00 _J Grands, and Concert Grands, from the factories of \1 Stood for dollars, and no less ; ~ ~ t-1 'fhey draw but one line now to tell ~ DECKER BROS., CHICKERING, HAINES STORY 'l'he dollar ha,s no parallel. . & CAMP, MA'rHUSHEK, FISCHER AND OTHERS, Ji1 r :» GERMAN PROFESSOR (to young American)-"You don't musht 8 ~ J- r t-1 make yoursellef droubles to shpeak Chernum by me; ven you U1 eo (f) I tzj shpea.ks English, I knows your meanness ferry veil." ~ WHEN a. young man sits in the parlor talking nonsense to his best girl that's capital. But when he has to stay in eve Ji1 ~ nings after they're married, that's labor. en a variety to select from that can not be found A MACHINE has been invented that will sew on three thous 0 ~iving and buttons in a. day. No one seems to know yet whether a. m any other house in the country. marriage license for that sort of a machine costs more than Every instrument warranted. Catalogues mailed one for the other. z on application. AN aged musician with a. violin under his arm walks into a cafe. A stout gentleman tells him to begin. The poor fellow does not move. At last he produces his violin and shows that it has no strings. The astonished gentleman asks why on earth he carried such a. thing a. bout with him. "Alas, sir," replied the philosophical beggar, ." it is not an instru ment, it is only a. threat." A MAN rushes into a capitalist's office. "Look here, splen FA.TE:l:\fT DU'FLE:X: D:RJU'::r:v.:L. did new invention, thousands of dollars in it. A musical box. Place it in every hotel in the kingdom. You drop a. penny in and-" "Well," said the capitalist, "I suppose it then be It is a known fact that the snarehead of a drum, gins to play." "No, sir. It leaves off.'' in order to respond to the slightest touch of the A JuDGE, joking a young lawyer, said: "If you and I were stick, should be very thin and have much less ten to be turmd into a. horse or an ass, which would you prefer sion than the tough batterhead. To accomplish to be?" "The ass. to be sure I" replied' the lawyer; •· I've heard of an ass being made a judge, but a horse-never." this was a problem, which remained unsolved TheJudge. until we invented our Duplex Drum, the heads of "V A.ITER, vaiter, shouted Mr. Mintzenheimersburg, a.t din ner a.t the seaside hotel, "come here so quick a.s lightnings." which are tightened separately. "Well, sir," said the startled waiter, hurrying over. "Dare ish a fly in mine soup," said Mr. Mintzenbeimersburg. "Oh,'' .send for Oircular and Price List. remarked the tray handler, "is that all?" Well, you can have it, but don't tell anybody." And he walked away. A HARTFORD, CoNN., man sent his boy into the country N. LEBRUN MUSIC CO. equipped with a woodchuck trap and other appliances for enjoying his vacation, and told him to have a. good time and be sure to go to church. The first letter he received from the boy said: "Dear papa.; I've caught a woodchuck. It was a ST. LOUIS. MO. skunk. I did not go to church. Yours a.ffectionately." New York Star. ------SPECilL NOTICE I ALL REGULAR AGENTS FOR Are provided with receipts, of which the adjoining cut is a fac-shnile, save that in the regular receipts the firm signature of the publishers is not printed, but written in ink. Any one giving his subscription for one year's subscription to Kz~nkel' s .Musical Review, to a person not provided with these· re $ ...... commencin_t with ...... 188 , Endin_g witk...... 188 ceipts does so at his own risk, as the This Receipt is not good unless countersigned by the Publishers : publishers WILL HONOR NONE OTHERS, unless they actually receiv~ the cash for the subscriptions. Agent.