The morning call., 1894-04-19
MUSIC AND MUSICIANS.

MUSIC AND MUSICIANS.
The morbid stories going the rounds Of the
press respecting TscDaikowskrs sixth SYM
phony, the Pathetic" almost recall the tale
which is told OF MoZarrs last work. Many
students Of musical history have read the some
what unautheDticated story Of the stranger
clad In deep mourning, who mysteriously Or
dered requiem mass for the funeral OF ,,er-
son whom he would not name, and how Mozart,
as he tOiled at the music, became morbdly
convinced that the mass was for his own end,
premOnitiOn which In his fragile state OF health
brought about Its own fuflment. On first
hearing, critics are convinced that sIch music
as RELATIONSHIPS "Pathetic" was written
under strong and gloomy emotion. A repetl-
ton OF the work In New York has strengthened
the previous impression of Its great artistic
value and Of lis supernatural quality. Indeed,
the belief is gaining ground that the composer
made it, resolved to die after its first perform
ance. Reginald de KOven says: always more
or less subject to melancholy Tsch iKowskl
had ON a previous occasion UNNECESSARILY at
tempted suicide, and while bis death, when IL
occurred, was announced to be due 10 an error
Ia taking poisonous medicine in mistake for
water, Ii is generally understood now that 1t
was no mistake, and that the composer, for
some unknown reason, committed suicide.
That some tragedy Of this kind Is outlined In
his last work can hardly be denied, and should
the psychological history Of his last symphony
ever be written, it should prove Of the greatest
interest"
Ebenezer Prout aud DR.. A. III. Mann, organ
ist of Kings College, Cambridge, England,
have made an interesting musical discovery.
Ii appears that the latter gentleman is making
preparations for grand performance of The
Messiah" TO be given in June and as 10 is
at HaauhaI bpOueaIhad In
bis will "a fair copy of all the parts Of the
score of my oratOrio called the Messiah TO
the Founding Hospital" In London, the two
musicians determined to seek this scor. After
some search The forgotten music was discov-
red hidden away In dusty cupboard in the
orgau-loft of the hospital. Great was the joy
OF Prout and Mann 10 find that 1t contained
parts for Instruments written In no other origi-
nal scores OF the "Messiah." There were parts
tor oboes and bassOons, the former doubling
the violins 10 the overture and playing in uni
son with the voices, generally the soprano. The
bassoons double the BASES throughout the
overture and in nearly all the chOruses. There
can be no doubt as TO the genulneness OF these
parts, and they afford conclusive proof that The
addition OF wind parts to haendePs scores Is
not only no outrage, but is distinctly Carrying
out the intentions OF the co mpOser.
Since the recent great success of Miss Sibyl
Sanderson at the Paris Grand Opera in
Masseners new opera OF "Thais" the Eastern
papers have been devotDg columns to 1.-THE
slvery voice, the scuptural form and vouptu.
Gus posing OF "America's Sibyl," who is said
to add new luster to the Paris Opera, which
was sorely in need OF female beauty. One of
the numerous and not too well au henticated
stories being told about her Is that the young
Italian composer of 81 Pagliacci." then IN
known TO fame was so charmed with her voice
and abilities that he though OF Introducing her
TO Massenet for the lacking "Manon." Since
then Miss Sanderson has been the chosen
interpreter of the French composers roles.
There can be DO doubt that she has now won
her place in the Paris Opera.
The clever English tenor Ben Davis has
excited unbounded admiration 10 the East.
He is declared TO be "a tenor whom 1t Is a
delight 10 hear both because of the quality of
his voice and the supreme art with which be
uses it," One New York critic, commenting
on Davis and the English basso Plunket
Greeue, takes occasion TO point a moral to
native.bor vocallsts by remarking "they
should be held up to our singers who so
mouth their words as models OF good and
pure enunciation. 1t is fact that all the
celebrated singers who come from England
teach us that lesson. America is unfortunately
The land Of vocal INSTRUMENTATION, while Eng
The two greatest living players of striueed
Instruments Herr Joachim. the viollnisf, and
Signor PIattl. the 'ceIloist, have been rendered
jubilee reception and presentation at the
Grafton Gallery. London. IL is marvellous
coincidence that these two great virtuo,i
should both have appeared In London for the
first time within few months of each other
just fifty years ago. There was large gath
ering OF celebrities at the celebration of their
jubilee. The addresses to the two artists
were presented by DR.. A. c. Mackenzie and
Sit George Grove.
Cesar Thompson the Belgian violInlsr, whose
fame Is just beginning to grow, has recently
tnded series OF concerts in Vienna. They
were ovations. Though favoraby known TO
all professional musicians, his name has only
found Its way into public prints during the
past two years. Personal modesty and the
lack OF competent business manager have
Kept him In the background. He was consld.
cred quite star when playing In London re-
Gently, though the high English pitch appeared
TO hamper his efforts.
Henri Marteau possesses a yioiin-a Magini-
which originally belonged to Charles de Beriot.
the famous volnist who was the husband of
Nine. Malibran. De Beriot left It In his will
10 Leonard. who had been his pupil. Marteau
studied under L. onard. aud so endeared himself
10 MIN by bis ability that at the death OF the
celebrated teacher the violin In question was
lett Dy MIN as legacy to tbs young French
man. Marteau uses 1t now regularly.
Friends OF Lillian Russell, commenting upon
her aspirations toward the grand opera stage.
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