Musical GossipSource: The American Art Journal (1866-1867), Vol. 6, No. 24 (Apr. 6, 1867), pp. 380-381Published by:Stable URL: http://www.jstor.org/stable/25306956 .

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380 AMERICAN ART JOURNAL. She retuses to sin- the music selected for her

by the chorister, an0 if he insists alhe declares he is i1o gentleman. Then sfie runs with a garbled story to the ministeror music commnittee and as sumes the air of injuredt innocence generally. Sbe Is generally spoken of as "a Tarar," vwbich is an unjust aspersioni upon a remote and comll paratively inoffensive people of Asia. Shle affec:s great intimacy with the clergyman and his fam ily. By ber constant efforts at predominance in the choir she acquires a masculine style of be havior, Wlhich she mistakes for dignified indepen *dence. She thinks the other singers are intended by Providlence as accompanists to her own sin in-, and is vehemently opposedl to singing aniy

music not calculated to showin,, of her olYv abil ity. She Is altogezher a iiysteriois dispensation of Providence, like mosquitoes, smllall pox, or the income tax.

There is one other class oi' the choir soprano which i3 not so rare as many would suppose, simply because tbose' who belon- to it make the least trouble and pretension;- Ve refer to the educated Christian lady who adds to her correct deportment and refined taste real ability and skill in. music. Suchl a vocalist a clhurch is loth to lose, ani wvhen a soprano retainis for years the samie situation, it may be taken for granted that she belon-s to this honorable and noble class of

women. 'To such we wouldI niot apply the name even of "'model soprano." Theyare Larsuperior to such a title; their price is above rubies.

ANECDOTE OF HERZ, THE PIANIST.

Wheni Herz, the celebrated pianist, was in Cali lornia, he announcedI a concert in one of the new

cities, and was ob lged to send to San Francisco for a property very necessary to the entertain

ment-viz., a p)iano. At the hoar announced for

the concert, the tickets ere all sold, the house was krowdced, the artist was at lis post, and everything was In reMtliness--except the pi ano.

In consequenice of an inexplicable delay. the instrument had not arrivedl. Herz looked at his rough and bearded audlitory in a very agreeable trepidation. What if the gold-digging dilcttanti shoul(d take it into their heads to give him a taste

ol revolver or bowie-knife, by way of fillling up the timiie? Heavy drops of perspiration stood oni

the frightened pianist's brow, and he begani to

wish himself in China, in Kamschatka-any where

but in Calirornia. The miriers saw his alarm, and kindly comforte(d him. "Never miiind the

cussed piana, ' said twvo or three of them sooth

ingly: "Iwe don't caro for it; we came to aee

you. Make us a speech I" ElHerz, wvith restored

serenito, didl the best he could. The spoken entertainment seemed to'plcase the audieiice; anid

everybody, except the ar.ist, lhad quite forigotten all about the piano, when its arrval was announ

ce(l. A number ot stout miieni carried the inistrument

into the hall, anld place(d it on the platform. It

was a thiree-cornered, or "grand" piano, anid

Herz, promising himself to astonish these simple anid easily-satisfied inhabitants of the Pacific coast, seated himself on an empty whiskey keg,

(iustead ot the more civilized stool), and ran his

finger's rapidly over the key-board. Blum I blum I

splash I splash I not a soun(d did the piano utter, save that of keys striking in the water. The

Californians who had brougoht the "box" fom

San Francisco, findingv it very heavy, hbal floated it to town, and upo. dragg.ing it out upoIi the levee, had neglected to pour the water tiron the uterior.

SINGING BY SPURGEON'S CONGREGATiON. -A writer to the Western Presbyterian, tlhus de scribes the singing, as he heard it recctly, of

Spurgeon's congreggation, London-: The hymn was read eptirely thbougb, and each

verse Iwas read before it was sung. The singing was startecl-not lcd-by a person who stood be

side Mr. Spurgeon. I we comed the familiar notes ot "I Old Hundred," and tor the first time lor sev

eral m,onths, essayed to join in singing it. But I was surprised into si.ence by the mnainner in which the audience-took possession of the tune. The

most pouNerful organ, ir'there had been any:thing of the kind used, could not have le(d them4; The secon(d hymn was announced to be, "Jesus, Lover ol Mhy Soul." The preacher said, " Lee us sing this precious hymn sotlly to the tune of " Pleyel s

Hymn."" When the tirst verse had been sung, alndl aftei he had read the second, he said, " Sino it soltly !" With a cou'ntenance uplifted, anu beaming with fervor, his book in both hands, keeping tiuie3involuntarily to the music, lhe sang with the congregation. When he lad read the third verse, he said, " You do not sing it softly

enoug,h !" They sang it sotlly. It Vas as thouga some luighty han(d dlamedl up the waters of the Falls -o Niagara, leaving a thlii slhcef to creep through betwveen two fingers, and make soft, sweet Ynusic in its great lap, and. plunge ;nto tlhe great basin below. Then wvhen he hald read the Iourth verse, he said, " Now if we feel this, we

-will sing it with all our souls. Let us sing, willh all our mlight;" and the great congregation hurst forth into songo. It was as though the Great

Hand had been suddlenly uplifted, and( the gath ered waters were ruslhing on their uinited way in awsful grandeur.

MUSICAL GOSSIP.

Ver(li got his new op)era, " Don Carlos," before the French public at L'Academie on March 12th, and reports vary inl regard to its real merAts. Some writers commend it and the performance quite enthusiastically, while others find nothing worth praising- in the whole opera, except an iu cidenital ballet.

The Lonidon Orchestra's correspondence denies that opera any merit Leyondl a taking air sung by

Gueymard and two bass numbers. All else is declared by him to be massive, uninteresting and dull so far as the music is concerned, and only a pretty ballet scene really saved it. 'He says Faure 'has a good scene, Morere not much ol a part, and Mlle. Saas's role is ungra-cious, but if

the parts are bad the singing is indiferent. He sums up the result in two words-s ccess d' estime. It is a frighltfully heavy, terribly long, and ennui to a degree. Verdi wrote it and therefore it has a success d' estine. ld a lesser

man turned it out it would have beeln a fiasco. An elaborate and closely written critique upon

"Don Carlos" appeared in the Lond(lon Muestcal World of March 16th, which attributes-that opera to a talse Verdi, who left his fortunate inspira tions and style for a new path to fame. The

opera is too like "Il Forza del Destino,'" whose condemnation should have warned him against repeating its gralid mistakes. Verdli is there:ac

cused of imitatingl Meyerbeer in his "L'Afri caine, ?' and like most imitators, spoiling good etfects by tile imperfect manner in which they are produced. He thinks a run of sixty nights may bh hlad lor " Don Car'os " if the ballet is, well kept

up, and severe cuts are muade to shorten its dull

passages. The latter saving clause was effecte(d speedily after Verdi left Paris, but the correspon dent blames the librettists for excessivo length of

*the drama and its many col( passae.es, for Verdi

hadl few good situations to write for, and hence followed dullniess in many portions. That coritesZ pondent speaks enthusiastically of its beautiful third act, with praise for scattered morceaux, but advises Verdi to cherish his old styls in future. Thq second tableau in second act has a pleasing motive and graceful rliythm. The third tableau ot third act has a fine trio, the iourth tableau, a perfect imiarch with admirable color. Its inotive, however, lacks otiginality. The Prayer of Depti tles he considlers very flne, an(d the duo in fifth act, beautiftil.

Patrio,ic sentimients grandly expressed abound. Morere is consi(lered( the weak point in the cast although gifted with a very agreeable, sympa thetic voice, for he lacks power, conSld'ence and historic ability. Faure diatlnguished himseltf (rreatly in that opera, especially in close of 4th act, whlen he received an ovation for sple'ndid delivery of recitatives.

Verdi is considcred1.to be obliged by the zeal whiclh marke(d the pertormuance of his new work, and Mines. Gueymard and Saas complimented for makinog dull music acceptalble eveni to hearty

applause. Adelina P'atti succeeded well in "La Gazza

Ladra, " although she didl not efface Ma ibran's

performanice of Ninetta fromu Parisian memories.

Xiss States had opportunity as Elisa in "Colu mella" to win more laure's at Les Italieus.

Critics remark untavorably upon the orchestra in that opera as lacking ensemzble.

Gounod declined serving upon the Exposition Committee over which Auber presidles, because "Romeo et Juliet" required all his time, and

Gauthier replaced him.

Auber alternated wih Rossini iu presiding over thie pertormnance of Mine. de Grandval'S mass, which Is declaredl a work of the highest or(ler.

At Georges Pfeiffefr and de GasporiniFs second musical coniference, Mlle. Nilsson excited great entlhusiasm by siniing Adelaide.

Alfred Jaell commenced his Parisian campaign at LI Athenee, playing Mendelssohn's concerto

with orchiestra amonig other selections.

M. E. Chaine, of Paris, gained tbe prize offered

by the St. Cecilia Society, at Bordeaux, for a

Symphlony and( Poll da Silva, two honorable

mentions. Abert's opera, "I Astorga, " did not please Wei

mar s public because it lacke(I originality nnd its

book affordled no goodl opportunities for interest. The question as to Italian Opera in St. Peters

burgr next season yet relimains undecided, althouggh Russian pride desires its suppression, to aid Naa

tional theatres. Be!ore Joachim left St. James's Hall for Palis

he played with Mann's orchestra in that popular

Concert Saloon, and in solo at Sydenbam Palhace

and Earl Dudley's house.

A -wordy,discussion goes on in London journals

about Oakley's qualifications for his Edinburgh professorship, and Chorley's strictures upon him are sharply reviewed-pro and con.

Earl Dudley's concert at his residence-Park Lane-appears to have excited London dilettanti remarkably, as Bene(ldet conducted it and Joachim and Pia ti, his niece and Miss Wynne performed th ere.

Sims Reeve's first performlanlce in Eng,lish Opera at Drury Lane Thleatre Wvas the favorite part of Francis Osbaldiston-" Rob Roy: "

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AillEllICAN ART. JOURNAIJ "381 Verdi's instant departure from Paris alter his

new opera had been once perforine( is commen tedl upon.

Gye issuedl late in Marc1h his magniloquent proSpectus for his Italian Opera Season, whicb comnmenced April 31. Be pronilses touirteen operas in that season of forty nights, but, oilers no special novelty in artists. Adelina Patti Nvill appe.ir, bbut not in early performances. Gye's progrramme occupies four columns in a fashion able journal and makes a ,reat shoow fdr mana geria'. enterprise.

Maplesbn usually comnmences later and his Italian Opera season closes later than, Gyc's.

Titiens, Siniico and Tom Hohler were very suc cessful in Glasgow, lhe makingo a great hiit in "Lucrezia Borgia " as Gennaro.

The London Standard.cdeclares that Cusini, the new conductor of London's great Philharmo nic Orchestra, came off With flyino colors f1-om his first essay at conducting in the first concert of this b5th season, and the Daily Telegraph aftler noticing- the well filled hall on that occasion andl the severe loss experienced by Prol. Ben nett's retirement after eleven years service as conductor, remarls that lualny notabilities were present to ascertain Cusini's tit;ness for condnic ting, thus decildedly in his tilvor. IIMr. Cusinii's acquitted hiimself ot his perilous task to general satisfaction. t His beat was clear -and decided, he had evidently mastered every p.ece in the pro gramnlle and had the band undler complete con

trol."

Adelina Patti will assume Juliets r ole at Gye's

Operta, and Lucca takes in " Don Carlos," the leadin, femiinine role. Gye decsh'e5 it certain tllat both "Romeo et Juliet " and " Don Carlos"

will be produced at Covent Garden this season,

they makiing with Ihis oldL repertoire and rev:sed

"Masaniello," a list of seventeen operas bor per foriimance during its continuance.

Offenbach's Opera, " La Grand Duchesse," was

ainnounced for performance in Pnris on April 1st.

The Musical World's correspondence from Berlin, asserts that like the political-social reform just perie3ted there, musicnl malters in that city should be reformed and their present state of anarchy moulded into sound perception of tlle beautifal. He considers the operat performances at,Berlin rank mnuch higher in a musical poinit of view than at either London Opera House, but still the finish in ensenzble is equal!y deficient at

Berli.n. The dramatic and vocal school in Ger many, he says, is now in a primitive state, as in Engoland, the very best singers, like Wippern Lucca, Niemann, Wachtel, &c,, being artists hichly gitLed by nature. Wippern has made as many advances in voice andl singing, as Lucca has lost in both specialities.

I'Mile. Artot's performance ofVDesdemo1na7'8 role is consi(lered by him a great achievement, both in singing and acting.

He considlers the Sinounie-Soirees given by the Opera -House Orchestra, under Taubert's direc

tion, the best concerts given at Berlin, and the

instrumental performances in nll concerts there far superior to -the vocal,Kthe singing being-in

fact-very poor. L'szt's priestly office has not precluded -his

writing piano-forte music freely. A miong others

enlumerated 'as recently publishled by hlim are, Tranlslations from Mozart's "Requiem," and Perg,olese's "'Stabat Mater and Sacred Melodies, "

a Hymn to Pio Nono, andl two Legends for the Piano-forte which illustrate miracles by Saints, whicb latter are decried by critics for their flimsy construction and pcrverted expression.

Gounod's new opera Is announced tor perlorm ance at Le Lyrique, on April 15th, if nothiun happens to prevent that long- desired consumma tion o' extraordinary anticipations.

OnA March 30th the Crystal Palace Concert had for programme Schumann's cantata, "Paradise andl the Peri,;" with aninual. exhibition of Springm Floweri.

Rosalie Durand-Mrs. F. Lyster-die'd at Syd ney, N. S. W., on December,8th. LysLer's opera company performed "Masaniello " there on De cem ber 15th..

Ma-x Strakosch's Italian opera company were very successtil in Boston's Academy of' Music duling tbeiFtbrief season there.

American Pianos at the Paris Exposition.

A CARD TO THE PUBLIC. In September, 1866, we were awarded space in the Paris

Exposition to exhibit lour. Pianos by the UniteI States Agent. We made the necessary preparations at very con sidorablo expense, and it was generally understood by our fiiends and the public that we should compote owith other first-class malkers at the Paris Exposition. Regulations bavo since beon made by which our pianos are excluded, and we owe it to ouLr ffiends and ourselves to make a pub lic statement of the facts of the case.

In September, we had permission to exhibit, but in December, whenwe applied to Mr. J. C. Derby, the United States Agent here, for the la,tcst date that our pianos would be received, ho informed us that the space allotted for American pianos had been vey-much reduced, and that our name was not on the list of exhibitors. We could get no further satisfaction, but we have learned since that tho space allotted would contain. nine pianos-room enough for one piano each from nine exhibitors, and that that space, instead of being so divided, has beon granted, for some reason or other, to two or threo manufacturers who

monopolise the whole. The puiblic wvill perceive that thero is gross injustice somewhero, for if our instarumonts were deemed worthy to exhibit when tho al otted space wvas large, why, when the curtailed space would accommodate nine pianios, were ours excluded?

The correspondence wh.clh we append will prove, by Mr. Derby's own showing, how high our instruments stand in the opinion of the " most eminent critics." It

was known to Mr. Derby tbat, at the last grand Fair of the American Institute in New York, where compotition was cpen to all makers, that we receivod, over all others, the Gold Medal for-our Grand Pianos, and the Silver Medal for our Squares; also that the Testimonials of all, or nearly all, of tho best professors and artists of New York and other cities, declare that we malke a THOROUGHLY PER FE;CT PIANO.

Why, with such facts before the Commission, should wo be depriveod of our admitted right to participate in a Na tional enterpriso. Or why-what was intendod for all who

were worthy-should be made a monopoly for the glorifi ication of one or two firms-are quostions which we leavo. to an .ntolligont public to answer, assured that it 'will dx the wrong upon the wrong doers. To the uiuggestion of

Mr. Derby that we should send our Pianos at our own risk

and,trust to chance to smuggle them into the Extposition, wo reply that wo scorn any endeavor to buy or to boe for a position vhich is ouir admitted right, but of which we have been unjustlby deprived.

In conclusion we submit the following correspondence to the public.

GE,ORGE STECK & CO., 141 Sth Street.

NEw Yonx, 141 8th Street, Feb. 15th, 1867. J. C. Dnnv-, Esq.,

UJ. 5. Agent Paris Urniversal Exposition. Dear Sir:-Some time in December last, wYhen we had

an interview wvith you inquliring for the shipping direction of our Pianos to the Paris Exposition, for wvhich the p:ace

had boon allotted to us already in your letter. of September 1%, 1866, you told us that the space for Pianos had so much been narroNved down as to make it necessay to excludo our Pianos. We felt surprised thon to learn this fact at such a lato date, and bosides upon our own inquiry. You yourself admitted to us that our Instruments had been highly recommended and we could indeed see no reason why our Piinos should not be the first-ones seleoted to represent this branch of Ameoican industry at the World's Exposition.

You suggested that tllo matter would have to be referred to the Commissioner General iu Paiis, and we were satis fied to wvait for an answor. The time is now cloE at hand when the Pianos must be sbipped, and as we have not given up our right to do so, nor having heard of youBsii(e regarding this matter, we herewvith beg to ask you for iL formation about It.'

Vory respectfully, Your obedient servants,

GEORGE STECK & CO.

URrrrtD STATES AGEaxcT rOR THE PAII) UNIVE RSAL EXPOSITION,

February 18, 1867. GEoneE S5E cE & Co., New Yorlk,

Gentlemen:-Yours of the 16th inst. is received, and in answer to your inquiries I have to state that the only dif ficulty in the way of placing your pianos is the lack of space. There is no doubt alzout their merits, indeed

when such eminent critics as Judge Daly and Mr. Chas. B. Seymour are so posittve in their opinien as to the excel lence of youLr ins ruments, it seems a pity that they saould

not go. If, howvever, you are willing to take tho risk tv flud space for them, I anm WilliDg to send them. It appears as though thero might bo space for bvne at. losl., and as tho last steamer will arrive in time and will cloar fron this port on Friday, you bad better decide without delay

whether you will run the risk, as to the placement onco thero.

ItespectfLlly yours, J. C. DERBY,

.U. S. Agency.

141 8th Street, February 20, 1867. J. C. DEnnY, Esq.

U. S. Commissioner for the Paris Universal Exposition. Dcar Sir:-In reply to yours of tlho 18th inst., we must,

out of self-respect; decline ) our proposition to send our Pianos to Paris and, as you say, "uni the risk as to place

ment, once there, " We hold- the granted permit to placo our instruments in the Paris Exposition, end although you have cancelled tha; permission without inf3rm:n uis officially 'of the fact, wo - do not proposo6either to buy or beg our way in.

llespectfully yours, GEORGE STE CK & CO.

STEINWAY HALL. THIRT-Y-SECOND SUNDAY CONCERT,

SUNDAY, April 7, at 8 o'c1ocl;.

L. F. HARRISON.Director. -

*The follQowing Artists will assist in a new programmo:

Mile. PAULINIE CANISSA, Prima Donna.

Mr. ARTHUR MATTISON. Tenor,

Mr. HUGO BUSSMEYER, Pianist,

Mr. G. W. MORGAN, Organist,

Mr. G. W. COLBY, Accompanist.

Mr. THEODORE THOMAS, Conductor, and his

FJULL ORCHESTRA. Tickets rifty Cents. Reserved Seats 50 cents extra.

STEINWAY HALL. CARL WOLFSOHN'S

GIIALND CONCaEI:T SATURDAY EVENING, April 6, 1867, at. 8 o'clock,

When ho will bo assisted by

SEVERAL EMINENT OPERATIC ARTISTS,

THE LIE-DEIARKRANZ SOCIETY, TOGETHER WITH

MR. THEO. THOMAS' GRArD ORCHESTRA.

TICKETS, ONED DOLLAR.

For sale at. Steinway Hall Agency, No. 112 Broadwa, and awt the pricipal music stores, Reserved seat checks 60 cents extraL, may be had at Box; Offce, Steinway Hall.

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