The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1894-11-01
MUSIC AND MUSICIANS.


musical missionaries such as San Francisco
could easily provide 10 teach her townsDeople
the delight that dwels In a popular soGg? The
critic OF the Boston Herald, In few remarks
anent little essay, "How to Enjoy Music"
that was recently printed in a much-read
periodical. would really lead ons 10 that con-
cus;on. The Boston critic observes sadly:
"Nothing was said In that essay about any
method by which the popular music OF the day
may be enjoyed by those who have been
brought up on more solid fare. la1daDls
effort was MADE 10 educate the masses up TO
the symphony concert standard, but no effort
whatever was made to lead a symphony con-
cert audience down to the popular standard.
While it Is true that it requires on the one hand
special education to appreciate Brahms, 1t
is equally true that special education is re-
CURED to appreciate the masterpieces Of those
who provide the public with the tunes in which
1t most delights. While there are many who
are unQuestoDably deaf TO the beauties of the
prayer OF Elizabeth in 'Tannhauser' aud yet
who are lured into ecstasy over the inspiriting
strains OF 'DOn't Get Gay with Shea there
are also many who listen with rapture 70 this
same prayer who are wholly unable to reach
the frame OF mind In which they can yield to
the charms OF Swim Out, OGrady.' The
author of How to Enjoy Music should point
out some plan by which the music that Is
heard on street organs and on the variety stage
can be enjoyed by those who for lack OF taste
or OF the proper education turn from IL with
scorn. Success would mean Immortality for
him."
The following unpublished anecdote OF
Verdi was recently told by the once-famous
singer. Obin: ut was in 1865 that they were
giving the 'Sicilian Vespers' in Paris. The
work was splendldly mounted. and what In
terpreters Sophie Cruvelli, In her first youth;
Gueymaed. Bonnchee. Conlon. The role OF
Procda had fallen TO my share. Verdi was al
ready changing his style of writing and had
filled this part with recltative. AT my nrst
entrance had four pages OF it, and not an aria
In the whole role. This was too much. l took
Scribe, the librettist, into my confidence. and
he saw the thing at once. The difficulty was
to move the composer. At the third rehearsal
l preached the subject very humbly what do
you want" he asked with asperity. Changes?
never make any, Master 1t is the recita-
tive 'Ah you think it wearlsome" reiorted
Verdi. Il dc not say that. but-here is paper
Scribe sent me- what is on it2 asked the
composer, and he glanced through the verses
that Scribe had sent in answer TO my prayer.
1t is impossible; can DO nothing. Take back
this scrap OF paper. Goodnight Sad and dis
couraged, put II In my pocket. when verdi
came back. by the way, you might lend me
the paper l handed the verses back, and he
put them in his pocket. The following day the
master brought back my scene entirely re-
nodded. The recltative was shortened, aud
the aria And Thou Palermo was added. One
night had sufficed TO write an aria that even
to-day every one sings and whistles"
Mime. Albini has been to see Brahms. and In
a talk with an English reporter she said: "a
few months ago, when on a professional visit
to Vienna, II struck me that Brahms might
He is OF very retiring nature and not over.
fond OF receiving strangers, but he expressed
desire to hear what could make OF the So
prano solo In his Requiem so went TO his
house-such simple one, and beftting the
man-in Vienna. young English girl accom-
panied me ana played for me on the plano. /
positively trembled as 1 advanced to the in
srument but / think sang my BEST Brahms
face encouraged me. And when II was over
he shook me by the hand and thanked me
again and again for interpreting his music as
he himself could only have wished. 1t is a
grand piece, that solo. Brahms told me that In
the 1rst instance he composed the Requiem
merely for a chorus. Then IL was said to lack
something. Just at that time his mother died,
and It occurred TO him 10 add soprano solo.
The voice is supposed to be the voice Of that
mother, breathing peace and consolation TO bis
wounded heart"
There has been much warm discussion In
England rs to whether DR.. Hubert Parry,
whose oratorio, liking SAUL" aroused so
much admiration at the Birmingham festival,
should be called the English Bach or the Eng
lisb Beethoven. The music critic of the Lon
don Referee artlessly adds. "After listening to
king SAUL l felt inclined to say, Both
aud the English Handel in addition" Seriously
his new oratorio is magnificent work Of art
from whatever standpoint IL may be viewed.
Time was when Orztorio and opera alike suf-
fered from the current belief that any non
sense was good enough for a composer 10 set
TO music. Wagner showed us more excellent
way in bis opera and DOW DIR. Parry is doing
the same In his oratOrio. His book has en-
phasized the awfully tragic story of IsIaeps
first king In every possible way. The score
contains several splendid Handeiian chofuses,
The music allotted TO the evil spirit recalls the
pictures OF WiertZ, the lone duet is charming
and the scene with The Witch of Endor gives
one the shyers.
An interVie wer of the World recently tackled
Nine. Nordica on the delicate point OF whether
her husband, MIR. Cover. was really dead.
Nine. Nordica had no doubt of the fact. She
believed Mr.. Cover was not at all the sort of
man 10 efface himself for nine years, and, more
over, the United States courts. with the full
consent of his family, had administered his es-
ldles. now sDe Is aD0utto WeQ again. II am
engaged" she prettily confessed ito Mr..
Zoltan Doeme, and the Ceremony will take
place this year. We met first In the home of
the Duchess of Manchester" but at what
church she will meet her DOrme was not men
toned In the interview. Nine. Nordlea. CON-
bining business with pleasure. however, said
she was TO sing ELSA and Isolde" with NJ.
Jean de Reszke In New York. and then she
she went of 10 Nine. Melba's rooms 10 hear
that lady sing love duets with Mr.. Doeme.
Nine. Nor dica has just had an immense sue.
cess at the Royal Theater OF Munich. She sang
Elsa in "Lohengrin" aud "Aida."
Chinese music has no charm to sooth the saw
age breast In San Francisco, but in Berlin
It's novelty appears TO give It fascination.
L'Evantail says: while the Chinese and
Japanese are exchanging shots and cannon
balls in far-away Asia. troupe OF Celestlals has
Installed itself at the Reiehshallen Theater In
Berlin. Representations are given there OF a
historical drama that beats for length the
'Nibelungen' and Monte Cristo.' The per-
Torrance OF the interminable play takes place
10 the sound of an odd ncoherent music, exc
cuted by tom-tom gong, bells, big pack
ing case and whistles, the actors meanwhile
shrieking high falsettO notes out of tune This
curious spectacle nightly attracts crowds to The
Reichshallen."
Nine. Patti owns Craig-y-Nos. Mme Minnie
Hauk has a chateau in switzerland, many other
artists boast castle in Spain, and now Nine
Ca I've has purchased the castle OF Cabrleres
near her birthplace at MILAN, in Aveyron. 1t is
true that Nine. Calve modesty describes the