it
THE JEW IN THE WO"RLt OF MUSie
A PAPER BY MRS. SIMON HARRIS, READ BE
FORE THE PORTLAND WOMAN'S CLUB.
THE SUNDAY OREGONIAtf, PORTLAND, MAY 31, 1903.
The man that has no rrraslo In himself.
Nor Is not moid with concord of. sweet
sounds, I
2a lit for treaso; strategem and spoils.
The motions of is spirit &re dull as night
And his affectias dark as Erebus.
let no cuch ma be trusted.
FORTUNAfELY indeed for the Jew,
this briflant quotation cannot be
applied jo him, for his very oul
and being are full of music, and con
sidering: th short period which has
elapsed sine) his emancipation, it Is cer
tainly remkable how rapidly he has
gained prominence in the arts and
sciences. Tie patience of our race, its
domestic qxilltles, and its great tolerance
have enablli it to understand and ap
preciate tl benefits of civil equality,
and these benefits have been aptly ap
plied to a' that is grand and ennobling
in art, thp placing the Jew at the very
pinnacle "tf fame; a pinnacle designed
by Dlvinejpower, for no man need pride
himself upn his genius; that is the free
gift of Gd alone.
Fells Mendelssohn Bartholdi.
Under he head of composers, that is,
ot classtal music, Felix Mendelssohn
Barthold! stands unrivaled. Of all com
posers, lis career, and his experiences,
were th most fortunate. He belonged to
a familj remarkable for its talent. His
father vas a learned man, and a passion
ate lovfr of the fine arts. His grand
father, Moses Mendelssohn, was a great
phllosojher; his uncles were distinguished
writers? and, when we add that his
mother) was a gifted, graceful and hlgh
splrite woman, it is easy to conceive
that sich surrorundings must have been
favorable to the development of the fac
ulties of so naturally gifted a youth.
During his entire life, Mendelssohn was
enabled to surround himself with lux
uries, aid had every advantage which
wealth could procure, In his studies, and,
at no tme was he obliged to compose
owing t financial straits. He was
brought up in the atmosphere of art; the
great pcets, painters, composers, singers
and pla-crs of Europe were among the
frequenl and welcome visitors at his
home.
By ore who knew him well, his per
sonal appearance is thus described: "He
was a man rather under the ordinary
stature and size, yet graceful in his walk
and beiring. His head was covered with
glossy, black hair, curling In soft locks;
his forhead. as befitted the head which
teemed with such a burden of thought
and feline, was high and arched; his
feature sharply cut. but noble; his
eyes vere unspeakably expressive; his
nose iiclined to the Roman type; his
mouth Irm and fine; in his serious moods
more than dignified; authoritative, I
might jay, yet capable of the sweetest
smile, md most winning expression. In
this irriceful. finely molded form was
hidden hot only a royal spirit, but
most kudly heart; to speak out in
single vprd what was the most salient
feature of his character, he was a Jew
in the fullest sense." He knew and he
loved the Bible as few do in our time.
Out of ais familiarity with It grew his
unshaken faith, and that profound splrlt-
ual-mlnledness, without which It would
have beenlmpotsIble for him to produce
those ceep-felt, sacred oratorios, "St.
Paul" and "Elijah."
At the age cf 8, Mendelssohn played
the piano with wonderful facility, and In
his 15th year jomposed his flrst sym
phony for orchestra.
When a lad of 17, he for the first time
read Shakespeare's dainty play. "A Mid
summer- Night's Dream." That airy.
fairy creation Inspired him. and he set
to work at olce upon an overture to
the play. It paaved a masterpiece. "When,
seventeen yean later, Mendelssohn wrote
the music for jhc entire play, the motives
of the Juvenijj overture all turned out
to have their fiativc places in the drama.
This creation klone would have won fame
for any comjpser. "We are led by Men- t
delssohn's majric power to enjoy his crea
tion of a wofld -of pure fancy, inhabited
by bright aifi light-hearted spirits, who
confront witii their sunny nothingness
the yet greatir triviality of what Is called
practical Hfd and with the aid of poesy
and love wn the day. The charming
chorus of tie fairies singing Titanla to
sleep, the bautlul "Night Song" (with
out words), which accompanies TItanla's
rest in the Krotto, and the wonderfully
brilliant anq stirring "Wedding March,"
are the gens of this composition. A
creation of Shakespeare's needs no bet
tering, but lit Is certain that the com
prehension (f the play has been made
clearer by fhe addition of Mendelssohn's
music It las translated these fantastic
dreams of i Summer's night Into sound;
has scroenol their lovely twilight from
the glaring sunshine of our over-real age,
and opened the richness of the work to
those blunfcd natures which are them
selves unalle to discern between poetry
and prose.
In the 'Songs Without Words." Men
delssohn his created a new department
of music, ind one which has become de
servedly popular; of this string of gems
the Joyout little "Spring Song" is un
doubtedly the favorite
The occasion which called forth the
productlo of hl genial composition, "The
Hymn of Praise" was the celebration of
the fourth centennial of the Invention of
printing, at Leipzig, and of the unveiling
of Guttfnberg's statue on the public
square la the presence of thousands.
Among the most popular of Mendels
sohn's compositions may be mentioned
his violin concerto, two piano concertos
in G and D minor; his grand overtures,
symphonies and oratorios.
Beautiful and enduring as is Mendels
sohn's music, one cannot but ask. Had
ho known the pressure of poverty, or
the struKgle against circumstances, might
not his music ha'e given out greater
strength, grandeur and majesty? The
tranquility of his life, lifted above all
necessities, undisturbed by care, and un
touched by sorrow (save in one instance),
has given us graceful, elegant music
strains of enticing melody, and measures
of smooth, flowing "harmony. That they
touch the heart cannot be denied, but
they do not go beyond the finite bound
aries and give us glimpses of the Infinite.
It is. Indeed, a curious fact, that nearly
all the great music of the world has been
produced in humble life, and has been
developed amid the environments of pov
erty, and in the stern struggle for exist
ence. The aristocracy has contributed
very little to music, and that little can
bo spared without detriment, excepting.
of course, the works of Mendelssohn and
Meyerbeer. Nearly all the great masters
have been of lowly origin, and have Uvea
and died in comparative poverty. As a
rule, the enduring music has been the
child of poverty, the outcome of sorrow,
and the apotheosis of suffering.
Fanny Hensel.
Fanny Hensel. the eldest sister of Men
delssohn, was a woman of noble charac
ter, genial disposition and loving nature.
and there can be no doubt that her sweet
companionship added grace and beauty to
the compositions of her gifted brother.
She was a fine planlste. and composer of
more than ordinary ability. In youth she
and Felix were inseparable companions.
They studied together, they composed to
gether. In fact, in the earlier collection
of his songs, many of her's appear, so
closely similar in feeling and color that
they would be Indistinguishable were no
signature attached. At the Sunday per
formances in the Mendelssohn home she
and her brother played with a small or
chestra, which was accustomed to assem
ble there. Their musical sympathy was
extraordinary; each was possessed of rare
sensibility, and their musical affinities
drew them together hi a companionship of
neart ana soul which was never disturbed
except by her sudden death, from the
Ecodc of which Mendelssohn never re
covered. After this sad event he secluded
himself almost entirely within the family
circle, and always seemed to be living In
the presentiment of his own speedy departure.
The last time he had parted from, his
sister she reproached him for not spend
ing her birthday with her, which was on
the 8th of November. He replied: "De
pend upon It, my dear sister, I shall spend
the next with you." Fanny died May 14.
1847; he died November 4 the same year.
and was with her on her birthday.
The Influence of such a woman, bound
to him by such strong ties of affection,
and real musical sympathy, cannot even
be estimated. When she died his hold
upon music was gone. A few brief months
and they listened together to the music
of a higher world, companions no more
to bo parted.
Anton Rubinstein.
Anton Rubinstein, the noted pianist and
gifted composer, was a native of Russia.
He received his first musical Instruction
from his mother. Like Mendelssohn, he,
too, was an Infant prodigy, and at the
age of 8 years played in public At 11,
he became the pupil of Liszt, who aided
in unfolding his remarkable talent, and
one year afterwards made a great artistic
tour through England, Germany, Holland
and Sweden. Whilst in Berlin he. fre
quently played at court, and was the Idol
of royalty.
Upon the death of, his father, Rubin
stein was thrown upon his own resources.
He was then a lad of but IS; he busied
himself giving and taking lessons in "Vi
enna, and latterly In St. Petersburg. So
great a virtuoso did he become that ho
was appointed pianist to the Russian
court by the Princess Helene. In this
situation he had the leisure to pursue
his studies in composition. He wrote
quite a number of Russian and German
operas. Those which have been produced
in this country are "Lalla Rookh" and
VNero." Besides these are "The Lost
Paradise an Oratorio." and various con
certos, ss'mphonles, overtures and songs;
of the latter, the "Voices of the Wood,"
"Thou Art Like Unto a Flower," and
"Yearnings," are perhaps the most popu
lar. An episode, and Indeed a remarkable
one in his, life, occurred In 1869, when the
Russian Emperor decorated him with an
order which raised him to noble rank.
We know, alas! but too well, the religious
persecution of the Jews by the Russians,
but art, real, true art, triumphs above
all things!
Moscheles.
Imagine a frail child of 7 years play
ing Beethoven's pathetic sonata! Yet this
wonderful feat was accomplished by little
Ignace Moscheles, who was destined to
be one of the most distinguished pianists,
a great composer and one of the great
est teachers of his time. He was a na
tive of Prague. Notwithstanding the
pressure of business, his father found
SPIE-RIG QU7VRTET eOMING
The Splerlng Quartet that will be heard did and at home as she is In opera, she
at the Marquam, Thursday, June 4. under is at her best In concert, where every
the management of Miss Steers, vies for requirement made by classic and modern
honors with the moat renowned quartets composers upon the human voice is met
known to the world. During ten years with a most marvelous response. A
these four players, Theodore Splerlng, Otto voice of unequaled range and depth, she
Roehrborn, William Dlestel and Herman Is as much a mistress of bravura and
DIestel, have been quietly but endurlngly coloratura singing as of the big, deep
building up a reputation for high musical roles in opera. Her singing of German
achievement in Chicago, and now by their lieder is a revelation. The singer was
Indefatigable spirit of energy and zeal obliged to repeat "Die Allmacht," by
having perfected themselves in ensemble Schubert, and the beautiful "Spring
work, they are entering the lists with the Song." by Becker. At the close of the
Joachim Quartet of Berlin, and the Kncl- brilliant "Bolero," by Ardlttl, the audl
sel Quartet of Boston. ence refused to go, -and the generous
Among the noblest music that has been j singer returned to favor them with her
given to the world by the great compos- . famous Interpretation of the "Drinking
ers. Is that written for the etring quartet. Song" from "Lucretla Borgia." Mme.
Into this musical form the master minds Schumann-Helnk was assisted at the
of that art that lifts all men heavenward.
have poured their blithest joys, and most
tragic sorrows with spontaneity and Im
passioned freedom from all the fetters of
conventionality. It Is a rare delight that
of listening to these fiery entrancing ,
strains, interpreted by a group of players
of such Illuminative Insight and Infec
tious warmth of temperament as belong to
Theodore Splerlng and his men.
The Splerlng programmes embrace both
classical numocrs ana worns dj- me com
posers of today, novelties that are fasci
nating In the extreme to those Interested
in the daring spirit of the modern school.
From gay and rollicking scherzo the mood
passes to the glamorous tenderness of a
Rles adagio; from the profound mysticism
of Brahms to the playful grace of D'Al
bert; from the splendid unrest of Tschal
kowekl, the sportlveness and brilliancy of
Glazounow or Zalzyckl, to the classic
beauty and repose of Mozart,
The glowing color, vehemence and emo
tional Intensity of present day schools are
given generous attention. The listener Is
Introduced to many revolutionary depar
tures from old Ideals; to surprising mod i
ulatlons and harmonies showing a wealth
of strangely beautiful orchestral effects,
undreamed of a few decades ago. There
are moments when the soul is lifted to
lofty heights, wrapped in an atmosphere
of pure sublimity, and there allowed a
fleeting gllmpee Into the tragic inner
meaning of life, sorrow and love. At
other times the soul is bathed In Elysian
streams of sweet, enthralling melody.
But between these are plunges to earth's
battle ground, where always a seething
conflict Is going on between the ideal and
the real; where lusty battle cries mingle
with the groans of the unhorsed and
fallen; and the glad paen of the ictor
gives way to a prayer for the dying.
Contrasting with these moments of
tragic seriousness are Intervals of lnteiu2
reaction and fantastic humor, like that
represented in the scherzo for muted
strings of Cesar Frank's quartet In D
major, a favorite number on their pro
grammes. It Is an almost grotesque move
ment, which Is played by Mr. Splerlng and
his men with an airy lightness, delicacy
and glancing spirit that hold the listener
entranced. The mingled subtlety and daring of
modern man finds In no othr art such
frank and free expression as In music
And the splendid, audacious contrasts and
rich complexity and voluptuousness of
orchestral detail so characteristic of re
cent music la admirably portrayed in the
work of the Splerlng Quartet.
DOMAIN OF MUSIC.
After the return from Europe of Man
ager Conreld, of the New York Metropol
itan Opera Company, in August, he will
establish a school of opera with four fine
teachers, who will "have the training of tal
ented singers who have operatic aspira
tions. These singers from the start will
be given parts, and thus will derive poise,
repertory and understanding that Is nec
essary and which some Americans never
seem to consider a necessity. Carl Lau
tenschlager. of the Munich Prince Regent
Theater, will remain In New York as as
sistant to Mr. Conreld, and already they
have given orders for new stage construc
tion and lighting. There will be a new
curtain and a new organ placed In the
orchestra, which will be enlarged by seven
feet. The season will open November 2?
with "Rigoletto," In which it is possible
that Caruso will sing the tenor role. There
Is also in prospect the presentation of
Smetana's "Bartered Bride," which will
be given in English. Puccini's "Mme. But
terfly" Is another novelty to which Con
rled has a right It is said that Nordlca,
who gets about $250 in Europe and $1250
under Grau. asks 51500 from Conrled. Jean
de Reszke aska $4000 and the re-engagement
of his brother. Edouard. This means
per performance, not per season.
'
An Audience of about S000 people re
cently greeted the appearance of Mme.
Ernestine Schumann-Helnk In her song
recital, given at -St. Paul, Minn. Splen-
leisure to devote to music, of which he
was passionately fond. It was his earn
est wish that one of his children should
become a thoroughbred musician; little,
though, did be dream of the talent of
the child, who, standing beside his eldest
sister whilst she took her music lessons,
learned faster than she. One day, tired
of seeing his sister's unskillful perform
ance, Moscheles cried out, "Oh, dear,
how stupid; I could do It better myself!"
"Try," said the teacher, putting him on
the stool. After that he took lessons
regularly and made rapid progress. In
1S14 Moscheles first heard Meyerbeer,
with whose masterly playing he was
charmed. At this time the liberation of
Germany was exciting the hearts of the
Viennese poets and musicians, who vied
with each other In celebrating this glori
ous event. JSpohr wrote his "Befrelts
Deutschland and Moscheles wrote "The
Entry Into Paris," and afterward a
sonata entitled "The Return of the
Kaiser." He was then but a youth of .one
and twenty. At about this time he be
came acquainted with Beethoven. Im
agine what ' such a friendship meant
to so young and enthusiastic a
musician. In" his diary, Moscheles
says! "I took such a fancy to Beetho
ven's opera, 'Fldello,' that I desired to
arrange It for the piano. In view of this
fact, I -went to his home to talk the
matter over. When I came early In the
morning Beethoven was still lying In
bed. He happened to be in remarkably
good spirits, jumped up Immediately and
placed himself just as he was at tho
window, with a view to examining the
'Fidello numbers which I had arranged.
Naturally, a crowd of boys collected at
the window. Upon catching a glimpse of
them Beethoven cried out, 'Thunder and
lightning! What do those boys want?
I laughed and pointed to his own figure.
Yes, yes, you are quite right,' he said,
and hastily donned a dressing gown.
In a criticism of that period, Mosch
eles' playing is thus described:
"His touch Is as soft as velvet, whilst
his running passages are as perfect as
a string of pearls. He captivates his
hearers by his dashing bravura and
youthful enthusiasm. After one of his
concerts he was overwhelmed with con
gratulations upon his wonderful success.
Turning to an admirer, he said: 'We mu
sicians, whatever we may be, are but
mere satellites of the great Beethoven;
he, and he alone, is the dazzling lumin
ary.' This great modesty was one of
Moscheles' most pronounced character
istics. He never failed to recognize the
merits of others. Unfortunately, today,
there seems to be so much personal ri
valry between musicians. Why this
should be I cannot quite understand, for
surely some one has to be best, else where
should we obtain a standard to copy from
and Improve upon?"
Mnsrhelps was on tprms nf erp.it Inti
macy with the Mendelssohn family. With I
piano by Josephine Hartmann.
.
One of the engagements made ln-Europe
for next season by Colonel Henry W.
Savage Is Madame Jenny Norelll. of this
cltVf coloratura soprano. She ,has
also been engaged to sing at the London
philharmonic concert, June 11, as soloist,
and this concert Is one of the events of
the London musical season. Madame
TCordll finished her Gothenbunr. Sweden.
engagements last April. Going to Copen
hagen, Denmark, she met Johan Svend
scn, the composer and director of the
-Rnvnl onera. and he enimired her to sine
j at two concerts at which royalty ap-
pears. She then went to England. Her
two children, who have resided in this
city with their father, recently left with
their aunt Miss Minna Norelll, to visit
their mother In London. It Is gratifying
to Madame Norelll's many friends
throughout Oregon to know that she is
making such a success as a singer.
Mrs. Rose Blcch Bauer, soprano, will
sing at these events: Tomorrow evening,
Marquam Theater, commencement exer
cises of the Holmes Business College;
Wednesday evening, Marquam Theater,
at the" concert to be given for the benefit
of Benjamin P. Thompson, the letter-carrier;
June 12, commencement exercises of
Oregon City High school, and June 17.
commencement exercises of Monmouth
Normal School.
A little German band was recently dis
pensing Its sweets In the shape of con
certed music In an Eastern town. At
tracted by the consonance of sweet
sounds, a man asked the name of the
piece that they were executing. "Vat!"
screamed the leader. In horror, "You dond
know vhad dat Is?" "No, I don't," an
SPIERING
Theodore Splerlng. Herman DiestcL. Willi am DleateL Otte Roehrborn.
e mini
Felix, then a boy of 14, ho was perfectly
charmed; considered him a phenomenon
and predicted that' ho would becomo a
great master. The pleasure of the ac
quaintance was mutual, and the oftener
Moscheles visited the family the heartier
was his welcome. The parents of Felix
begged Moscheles to give him lessons,
but he refused, for he .felt that the gifted
little lad needed no Instruction from him.
However, after being urged by Madame
Mendelssohn, he consented, and Felix
ever afterward referred to Moscheles as
his Inspiration In technique.
Chopin, Clement! Hummel, Craemer,
Thalberg and Liszt played frequently be
fore the public with Moscheles.
About 1S44 Moscheles set out for Vienna,
accompanied by his wife and daughter.
Fanny Ellsler, the famous danseuse, was
then all the rage, and "Madam Moscheles,
writing to a friend, said: "Here the feet
of Fanny Ellsler are ever In opposition
l to Moscheles hands; it is impossible to
secure band or public, as she Is forever
dancing." However, Moscheles was so
much in demand in Vienna that he was
forced to prolong his visit. At this time
he received the formal pffer of his ap
pointment at the Lelpslg Conservatory,
and a pressing invitation from Mendels
sohn to come. After mature deliberation,
he determined to accept, and wrote to
his friend acordlngly. Mendelssohn was
not long In returning, expressions of his
Joy. "When you come," he wrote, "I
will have some houses painted rose color,
but your arrival alone will give a rose
colored tinge to the old place."
Moschelles, generous and forbearing as
he had always been and always was to
his brother artists, could not quite agree
with some of them In their new-fangled
ideas. "I know." he said, "that many
may think me old-fashioned, but the more
I consider the tendency of modern taste
and the abrupt and-glaring contrasts In
dulged in by many composers of the pres
ent day, the more strenuously will I up
hold that which I know to be sound art,
and side with those who can appreciate a
Haydn's playfulness, a Mozart's sweet
ness and a Beethoven's surpassing
grandeur."
December, 1S6S, he began toehow symp
toms of decline, and suffered from loss of.
sieep anu restlessness, a year later was
the 45th anniversary of his wedding day,
and he made every effort to take part In
the home festival. He flayed with his
daughter and several musical friends.
The next day he Insisted on going to a
rehearsal. This was his last effort, A
few brief months and he joined the dear
ones who had gone on before. His best
known jcompositlons are his "Homage to
Handel." two "Concertos." his "Melan
choly Sonata," and, above all, his piano
forte studies, "which occupy a place In the
classical literature of that instrument,
from which no subsequent development
can oust them.
Occasionally we" meet with families of
swered the Individual, thoroughly cowed,
and ashamed of his ignorance. "Veil, my
vriend, dat piece Is "Die NIebelung.' "
"Well, what Is the 'NIebelung? Don't
know 'Die NIebelung?' Say, boys, vat
you t'ink about dat old fool vot don't
know 'Die NIebelung?" Veil, my vriend,
'Die NIebelung Is a piece of Wagner."
"Who Is Wagner?" asks the persistent
questioner. "Who Is Wagner! Here is a
man who asks who Is Wagner. Vy, Wag
ner is de man vot made de palace cars.
Vot a fool don't know who Is Wagner!"
An enjoyable piano and song recital was
given at the First Methodist Episcopal
Church, Albany, Or.. Friday evening. The
large auditorium was crowded with an
appreciative audience Miss AHeen Web
ber, planlste. played very skillfully the
numbers assigned to her. Miss Webber
has a fine touch. She has only recently
arrived from the East, where she had ex
ceptional advantages in study. W. F.
Werschkul's ability as a vocalist is well
known. This was the programme:
Grand valse brllllante (Chopin, op. 10); a.
"La Flleuse" (Roff. op. 157); b. "Le Bossig
nol" (Liszt); long, "Creole Lover's Eons"
(Buck); "Norweglscher" (Grle. op. 10. No. 2);
songs, a. "My Little Woman" Osgood; b.
" 'Tis I" (Plnsuti); a. Nocturne (Chopin, op.
t. No. 2). b. Etude (Chopin, op. 25. No. 0);
ng, "Blow, Blow, Thou "Winter Wind" (Sar
geant). and march and finale from "Concert
stuck," op. 70, Weber.
The Boyer chorus will sing Sir Arthur
Sullivan's "Golden Legend" at the First
Congregational Church Wednesday even
ing, June 10, and a successful performance
of this difficult but beautiful song-poem
-can be looked for. The singers and or
chestra have worked faithfully at rehear
sals, and at first the score .looked so diffi
cult that several members of the orches
tra could not play it, Mr. Boyer says that
the orchestral score Is the most difficult he
ever studied. This will be the last recital
to be given by the Boyer chorus this sea
son, and the church ought to be crowded
to hear this, the finest vocal choir of the
Pacific Coast. The orchestra will be aug
mented for the occasion. The soloists
will be: Mrs. Rose Dearborn Schwab, so
prano; Mrs. W. A. T. Bushong, contralto;
J. W. Belcher, tenor, and W. A, Mont
gomery, bass.
Interest Is Increasing In the Bohemian
pianist, Ottokar Malek, somewhat owing
to the Immense success of his brother art
ists. Kubellk and Koclan. the past sea
son. The successes of Malek at Prague,
QUARTET, MARQUAM GRAND,
celebrities, so to speak, for Instance, that
of Jacob Beer, a wealthy banker of Ber
lin, whose son William, though occupied
in the banking business, became a distin
guished astronomer. Michel was cele
brated in Germany as a dramatic poet,
and Jacob, the eldest, was the renowned
composer, who rendered himself illus
trious under the name of Giacomo Meyer
beer, having Italianized his first name
and preceded his surname by that of the
Banker Meyer, who had In soma way
adopted him, and bequeathed to nun a
fortune. Meyerbeer was a musical prod
igy from his most tender years. When
only 4 years old he would go to the piano
and repeat the airs which, the street or
gans were playing, i making his own ac
companlments as tie went along. At 5
years of age he took lessons of Lanska,
a pupil of Clementi; at 6 he appeared in a
concert at Berlin; three years after the
little 9-year-old boy was spoken of In the
Musical Gazette, of Leipzig, as one of the
best pianists of Berlin. At the. age of 11
he composed an oratorio, "God and Na
ture," which was successfully performed
In the presence of the Grand Duke of
Hesse, Darmstadt, who bestowed upon
him the title of Composer to the Court.
We will not dwell upon his earlier com
positions, which were very numerous, but
turn to his first real triumph, "Robert le
DIable," which was unexpectedly brought
out at the Grand Opera of Paris. This
work attracted much attention, for Meyer
beer had abandoned the school ot Rossini,
of which he had been an. admirer and Imi
tator, and had taken a bold and inde
pendent stand. His conceptions were
characteristic and Important; therefore,
this composition was richer and broader
than any lw- had before written. So de
lighted, were the French people with this
opera that It ran for over 100 nights. The
reputation of Meyerbeer spread from
Paris over the whole civilized world.
"The Huguenots" next appeared; it ex
cited transports of enthusiasm, but it
awakened the remembrance of religious
wars, which was adjudged dangerous to
public peace, and its performances in
many of the Southern cities In France is
Interdicted by the civil- authorities.
When Spontln resigned the situation
of chapel-paster at the court of Berlin,
Meyerbeer succeeded him. and wrote a
great number of different melodies and
much church music for Frederick Will
iam the Fourth. Upon his return to
Paris, he wrote the "Prophet." The
success of this work, at first doubtful,
was soon established. Besides "Robert le
DIable," the "Huguenots," the "Prophet"
and "L'Afrlcalne," Meyerbeer wrote "The
North Star" and "Dlnorah." Although
these works contain much that Is beau
tiful, they are Inferior to his other works,
both In score and text. In writing
"L'Afrlcalne," love and enthusiasm for
his work guided the author's pen, and so
fully was his heart set upon the com
pletion of this work that ho prayed God
Vienna, Moscow, St. Petersburg, War
saw, according to reports, place Malek
on a plane with, and In the front rank
of, the eminent musicians of the day.
Programmes received In Chicago show
Malek to have been assisted in many of
his concerts of Kubellk, with whom he
studied In the celebrated Prague Con
servatory. He has been called the "Kube
llk of the piano," on account of his mas
terful technic, there seeming to be noth
ing in piano composition which he does
not master. His American tour begins
in October. !
A society concert was recently "given
at Toronto by the Ladies Practice Club.
This club Is composed nearly altogether
of amateurs, and consists of five first
violins, four seconds, 'cello and piano.
The members have been untiring in their
work during the Winter. As a result of
this the programme was well executed,
reflecting credit upon the conductor.
Rev. J. F. Plummer. Some of the num
bers were Edward German's "Morris"
and "Shepherd Dances," Tour's gavotte
in C, and Mozart's minuet from the sym
phony In E flat. Three songs, with or
chestral accompaniment, were sung by
Mrs. Garrett and MIs3 Ruby Jellett.
;
Several changes have recently taken
place In Los Angeles. Cal., choirs. Mr.
Seager succeeds Charles Bowes at the
Church of the Unity. Forrest Carr has
followed Mrs. Newklrk as leader of the
choir at the First Presbyterian Church;
Mrs. W. F. Balrd is organist at West
lake Methodist Church, and Mrs. Bell
man is soprano and Dr. Chester Magee
is tenor at the same church.
A New York critic writes: "Jean de
Reszke 13 -falling rapidly. His voice, as
a voice. Is quite as good as it ever was,
hut his breathing is so poor that he can
no longer phrase- anything as he used
to. The condition of Edouard de Reszke's
voice has been patent to all but those
who hear nothing save the names of
opera singers."
Dr. Carl B. Dufft, the well-known singer,
of New York, and who Is at the head of
the vocal department at Chautauqua this
Summer, will give a series of recitals dur
ing the session.
The announcement of the withdrawal
of the members of the Knelsel Quartet
from their respective places in the Bos
ton Symphony Orchestra was a positive
shock to music-lovers. The Kneisels
JUNE 4.
not to take him before it was finished.
However, when "L'Afrlcalne" appeared
as an opera, Meyerbeer was no more.
Perfect happiness on this earth seems
an unknown quantity, for rich and cele
brated as Meyerbeer was, he was not
happy. He was not satisfied with him
self while at work; even his masterpieces
failed to content him; besides, he was
extremely sensitive toH criticism. Like a
simple child, he was as much pleased
with admiration as he was grieved by
faultfinding. In this respect was he not
very much as are we all? For who is
there in this vale of tears that does not
succumb to kindness and appreciation?
He dle4 at Paris, May 8, 1SW. The
world of letters and art was seized with
consternation upon this sad announce
ment. "Meyerbeer is dead" resounded
from place to place. That same morn
ing. Rossini had ' Inquired after the
health of the sick man, who was equally
his friend and rival. On hearing the
sad news, he sank down in sorrow, and
all Franco mourned with him.
Halevy.
Fromental Halevy, the eminent com
poser whose life we are about to sketch,
had a mind naturally religious, and
wrote as much for .the, Catholic as for
the Jewish worship. The future author
of the opera of the "Jewess" was barely
20 when the Institute of Paris awarded
him the grand prize for the composition
of a cantata. The young laureate re
ceived a government pension, dwelt at
Rome for two years, and devoted him
self assiduously to the development of
hl3 talent. "Upon his return to France,
be had to contend with the difficulties of
a debutant, which were not few, even
though he had received -the prize at
Rome. After several years, in which all
his undertakings seemed fruitless, he al
most gave up the Idea of bringing out
an opera. It was not until 1827 that he
became known to the public through an
opera in one act. This was soon followed
by many others. In which the master had
scattered many brilliant gems, but no
one for a moment dreamed that he would
at some future day rival the celebrated
Rossini. Halevy's advance to glory was
signalized by the opera of "The Jewess."
which surpasses all his other works by
Its grand, passionate and touching inspi
ration. In putting this beautiful play
on the stage, the management expended
5150,000. This expenditure was useless, for
the work did not require so much mag
nificence in order to obtain the unani
mous applause its merits demanded; yet
the envious did not fall in their usual
attack, attributing the success of the
opera to the splendid manner In which
it was staged, rather than to its musi
cal significance. Halevy replied to their
attacks by another opera in three acts.
"L'Eclair," which was performed the
same year, and still increased the repu
tatlon of its author. It is very grace-
CHICAGO MUSICIANS VIE
FOR HONORS WITH
MOST RENOWNED QUARTETS
consider that the time has come to go
on tours of their own, to their own
greater profit and renown. This is but
natural.
Miss Ella Connell, the talented young
planlste, will give a farewell recital at
Parsons Hall Tuesday evening. June 9.
Miss Connell. who will be assisted by Miss
Ethel Webb, elocutionist, and Lucile Col-
lette, will contribute several piano num
bers. The violin recital given last week at
the Marquam Grand Theater in aid of
Charles Nebergall, the blind violinist.
reanzea aDout $400. This is very gratify
ing to the committee who had the matter
in charge and who worked so hard.
Mrs. Max M. Shlllock returned last
Friday from Athena and Walla Walla,
where she won new laurels in singing
ror tne Caledonian Societies. She was in
excellent voice, and her rich contralto
was much enjoyed.
A report comes from London that Pad
erewski the pianist and composer, is in
bad health. He is suffering from acute
neuritis at his home in Switzerland, and
has canceled all engagements for three
months.
Pupll3 of LeRoy L. Gesner and Lelo
L. NIcklln, Salem's well-known violinists,
gave an interesting programme last
Tuesday, and won considerable applause
irom tne large audience assembled.
The song cycles, "Flora's . Holiday" and
"In a Persian Garden." will be given un
der the direction of Mrs. Walter Reed, at
Forest Grove, June 17, for the commence
ment concert of Pacific University.
Edwin H. Lemare, the well-known or
ganist, who has played with such success
in the East, will give an organ recital
tomorrow at Salt Lake City.
Miss Mary E. Webster sang two songs.
one by Jievln and the other by Harris,
at the baccalaureate exercises last Mon
day at Stanford University.
All the operatic stars have gone to
Europe, except Nordlca and De Reszke,
who are singing at the Johnston-Duss
band concerts.
Koclan arrived at New York from
Europe last Friday, bringing with him
the Stradlvarius violin he had borrowed
from Mr. Clopton.
Melba begins her American tour 40 con
certs in October. Her manager is Charles
Bills.
Madame Trebelll, soprano, sang in Los
Angeles, uai.. last Friday night.
THE PRESIDENT'S KLICKITAT VIST-
TOR.
From early morn he's standing
Beneath the Stripes and Stars,
A stunted Inland Indian,
Brown faced, with Haw and scars.
Sombrero finely feathered, a gaudy blanket
skirt.
With lonjr black hair and wiry, and snake'
skin amulet.
He said, "lie see Great Father,"
(His hands gesticulate)
"Me no atajr reservation,
"Me work, me Klickitat!
Long time, long time before me, my father
garden make.
Me work, all same my father, trade berries,
caxaas bake.'
The child of Klickitat traders.
Whose home, the wild hill land.
Between the flowing rivers,
Fcr Clark and Lewis named.
Had he, too. heard the legend: "from his
Great Father, peace!"
Which cays: "Tou are zny children; let war
and discord cease"?
You "could not understand us
A hundred years ago.
But now you, too, cao feel it.
For streams ot sweet peace flow;
fle nave not understood you, but now at
length we know.
Tou are but simple children, and we must
treat you so!
LOUISA A'HiruTT NASH.
Portland. May 21. 1003.
No route across the continent offers so
manv attractions as does the. Denver &
Rio Grande. Write the Portland Agency,
1Z4 Third street, ior mustratea ooouieis.
ful. light and expressive, and the best
comic opera the master has written- He
also wrote an Italian opera, "The Tem
pest," the subject being taken from
Shakespeare's play. Commenting upon
it, a critic of that period said: " The
Tempest of Halevy differs from other
tempests; these rain hail, that rains
gold."
OKeaTaach.
Jacob Offenbach was a great 'cellist be
fore he became a composer of burlesque
comic opera. Among his earlier compo
sitions, are songs written to "La Fon
taine's" poems. He was what might be
called a musical caricaturist, and in vari
ous ways illustrated the saying that "a
grain of wit Is better than a bushel- o
learning." He followed no fixed rules,
and wrote as his fancy and Imagination
were wont to dictate. He was determined
that his operas should be funny, even at
the coat of propriety and taste, whereas,
we know that a work of art to live, must
possess style and elegance. "La Belle
Helene," a burlesque composition, rput
upon the stage In 1S64, had unparalleled!
success In France, which nothing can Jus
tify, and which Is not particularly cred
itable to the French taste of those thries.
It abounds with 'dance music and droller
ies. The "Grand Duchess of Gerolsteln,
also had a wonderful Infatuation for ttha
French; in fact, when this piece was pro
duced during the time of the exposition
of 1S67, many of the sovereigns of Europe
were attracted by it. Both this opera and
'La Belle Helene," have been given very
often in the United States, as has also
'Madame Favart."
Offenbach possessed astonishing fadlixy.
and an abundance of original ideas, and
he would have become far more popular
even than he was, bad he been more cas
tldlous in the handling of the subject of
his plays.
Blict.
To those of you who have listened totha
enchanting strains of "Carmen," but few
perhaps are aware of the fact that the
composer of that glorious opera was also
Hebrew. George Bizet gave during his
very short life many beautiful composi
tions to the world, but of these the one
great work with which his name will ever
be associated will be that of his world
famed "Carmen." Bizet was born In
Paris, October 25. 1S3S. His father was" a
singing teacher; his mother a planlste of
ability; from them he received his first
Instruction; when he was 9 years old he
entered the conservatory, where he stud
ied under Halevy; he won many prizes.
the first before he was 11 years old, and
In 1S57 he took the first "Grand Prix de
Rome." After his return from Italy to
Paris, he supported himself by giving
plario lessons, and doing hack work for
music publishers. But his ambition was
the stage, for which he wrote seven pp
eratic works, three of which were oper
ettas. "Carmen" was first produced at
the Opera Comlque, Paris, March 3. 1S73.
It aws then no more successful than
its predecessors, though Time has brave
ly avenged the despairing composer, who,
at the age of 36 exclaimed: "It 13 extraor
dinary that I should feel, so old." Over
worked and melancholy, he died suddenly
of heart disease at Bonzlval, June 3, 1873.
He left a widow, Genevieve Halevy, the
daughter of the well-known composer, and
five-year-old son. Bizet was a simple.
brave, honest man, without taint of in
sincerity, affectation or meanness In
thought or deed. He was almost savage
In his admiration of musicians whom he
loved; his favorites were Bach, Mozart,
Rossini, Gounod and Verdi.
Oscar Weill.
Oscar Weill, who for many years was at
the head of a musical Institution in San
Francisco, wrote the opera 'of 'Suzette,"
which abounds with the most delightful
melodies, and which became almost as
great a favorite as "Robin Hood," when
staged and sung for the first time in San
Francisco, by the Bostonians.
Carl Goldmark Is best known through
his fine creation, "The Queen of Sheba."
Sir Julius Benedict won laurels through
that fascinating little opera "The Rose of
Klllarney."
Jacob Blumenthal, who like Mendels
sohn, was pianist to the late Queen Vic
toria, is best known by that tender ballad.
xne .message, to Tvnlcn. be also wrote
the words, which are so beautiful and
touching, that I cannot resist giving- them
to you:
"The Message.'
I had a message to send to her
To her' whom, my soul lovd best. v
i But I had my task to finish
And she was gone home to rest.
To rest la that far brijrht heaven;
Oh, so far away from here. .
It was vain to speak to my darling.
For I knew she could not hear.
I had a message to send to her.
So tender and true and sweet;
I longed for an angel to bear it -v
And lay it down at her feet.
I placed it one Summer's evening
On a cloudlet's fleecy breast. r
But it faded In golden splendor
And died In the crimson West.
I gave It the lark next morning,
And I watched It soar and. soar.
But its pinions grew faint and weary.
And it fluttered to earth once mora, ,
To the heart- of tho rose I told it.
And the perfume, sweet and rare.
Growing faint on the blue, bright ether 4
Was lost in the balmy air.
I cried In my passionate longing? ,
Has the earth no angel friend
Who will carry my love the memff
That my heart so longs to scn&Z
Then I heard a strain ot music.
So mighty, so pure, so clear.
That my very sorrow was silent
And my heart stood still to hear. .
And I felt In my soul's deep 7 earning, "
At last the sure answer stir.
The music will go up to heaven
And carry my thoughts to her, ' '
It rose In harmonious rushings "t,
OC mingled voices and strings.
And I tenderly laid my message
On the music's outspread wings.
I heard It float farther and farther
In sounds more perfect than speechy
Farther than -sight can. follow ,
Farther than soul can reach.
And I know that at last my messagst.
Haa passed through the golden gats.
So my heart Is so longer restless,
And I am content to wait.
Modern. Celebrities.
Now come the, leaders of orchestra, In
strumentalists and singers, and such a
bewildering array! There are, and. hava
been:
Dr. Leopold Damrosch, his eon, Walter
Damrosch, who not long since enchanted
us by his delightful illustrated talks on
Wagner and his opera; Arthur Nikish, con
ductor of the Boston Symphony Orchestra,
one of the best-known musical organiza
tions In America, as also in Europe; Fred
erick Cowen, the famous song writer;
Moritz Moskowski, composer of the. Span
ish dances; the Strakosh family. Paganlni,
the greatest violinist of the past; Joseph
Joachim, the greatest living violinist;
Huberman. the celebrated Russian boy
violinist; Remenyi, equally famous as a
violin virtuoso; Gerardy, the brilliant and
soulful cellist; Miska Hauser; Morris Ro
senthal, perhaps the greatest living pian
ist; Carl Taussig, the only rival Rosen
thal ever had; Joseffy; Godowsky; Gabril
owltch; De Pachmann, better known as
the "Chopslnzee"; Paderewski; Dr. Lebert,
whose school of technique Is now so pop
ular in European and American conserva
tories; Lily Lehman, whom Richard Wag
ner considered the best "Brunhllde" who
ever sang that role; Henry Sondhelm, the
sweet tenor, who at the age of 19 was en
gaged for life by the King of Wurtem
burg as leading tenor of the Royal Opera
at Stuttgart, and who only a few years
since at the ripe old age of SO years sang
the role of Eleasar In a production of
"The, Jewess." It was In this renowned,
artist that Herr Anton Schott found his
Inspiration; and yet the list Is far from
complete; so, to his credit be It said,
that the Jew In music, as well as In liter
ature, science and the arts, holds a place,
by the grace of God, all his own!