The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-11-02
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Notices of Recent Interesting Volumes and
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sar's OPERA" while by ll9S the band OF
the Park theater had reached the dignity
OF ~ pieces, AS late as 1871. Mr. krehplei
aihrms that there was only one bass0on
in Gotham, and In 1S2S the number OF oboe
players In the United States had not
grown beyond two. The first season OF
Italian opera in New York was opened
by Manoel Garcia in 1875, In the PARK
theater. with an orchestra comprising
seven violins. two violas, three violincel-
los, two double-basses, two flutes, two
| clarinets, one bassoon. two horns, two
trumpets and kettle drums. 1t was not
until 1892 that the deficit in oboe players
was overcome by the Importation of two
Italian performers. But from these small
| beginnings there came rapid growth IN
1889 concert was given in New YORK In
honor of the memory of Daniel Schies-
niger In which an orchestra Of sixty men
took part. The success of this concert was
so marked as to lead to the organization,
In 1872. of the New York philharmonic
Society, from which time the success or
Instrumental music in this country was
assured.
one cause which Mr.. Krehbiel assigns
for the rapidity with which orchestras
multiplied after this date, not only in New
York but throughout the country, was the
constant influx Of recruits from Europe.
brought here" as he points out, ''by the
popular notion that America was Ell Do
rado for all itinerant artists" Year after
year in the decade between 1910 and 1860
the country was overrun with foreign ar
fists, many Of whom more than realized
their highest expectations, while others
found nought but disappointment. II un-
cultivated, Americans were at least anx-
for their pleasure. over sixty years ago
Maiibran could command fee of $500 an
evening. Twenty years later, the receipts
at a performance of The Messiah at
which Jenny Lind sang, amounted to Vs.
000 1t Is familiar story that this ad-
mred singer carried back to Europe ST.
900 as the earnings of two years OF con-
cert-giving in the United States. 1t Is, OF
course. impossible to strike balance be-
tween the good accomplished by the best
of the peripatetic vocalists and instru-
mentalists and the money which they car
ried away; but it Is easy to point to the
benefits which accrued from another
class of entertainers who. as a rule. were
less successful. These were the orches-
tras which came from Europe, Travelled for
longer or a shorter time through the
States and then disrupted. Every such
| catastrophe added to the musical ability
of the country"
Our author points out that it was to this
spirit Of adventure on the part of foreign
artists that the American people are In
debted for the presence among them OF
Theodore Thomas, whose artistic devo-
tion, marvellous executive ability and dis
ciplinary skill made him the most potent
agency for the spread of understanding
and love for high-class music that this
| in Essen, Hanover, on Oct. II, 1885. He
played In the operatic and concert Or
chestra during the American engagements
of Jenny Lind. Sontag, Grisi Mario and
others. In 1855, with William Mason.
Joseph Mosenthal, G. Matzka and Carl
Bergman, he instituted the famous cham
Der concerts which did go much to fix the
musical status of New Workers. In 1862
Philharmonic. Society, in 1864 he began his
celebrated symphony concerts, and two
years later undertook his first great tour
of the country, travelling with splendid
orchestra and playing to delighted thou
sands in every important American city.
On the death OF Carl Rergmann he be-
| came conductor of the New York Phil
harmonic society, resigning the follow
ing year to establish In Cincinnati coll
lege of music and an orchestra. 1t was
Mr.. Thomas who, in 1873, called into ex
istence the first Of the renowned Cincin-
natl May festivals. In 1879 he returned to
New York, where for twelve years he con-
Quoted the c0pcerts of the Philharmonic
societies of New York and Brooklyn and
gave symphony and popular concerts with
his own orga anization. Finally, in 1891, he
transferred his activities to Chicago. where
he is repeating, in the fertile Northwest,
1T is not easy" adds Mr.. Krehbiel, ito
measure the results Of labors like those
performed by Mr.. Thomas not always pos
sible to see the true relationship between
service which is to his credit Is considered,
the circumstance is weighed that not
single large city of the country has
been left without frequent ministra-
tons at his hand, and just i'm.
portance is attached to the circumstance
that it is his standard which prevails with
the orchestras which have been organized
in New York, Boston and elsewhere. 1t
seems only pious obligation to say that
after the Philharmonic society Of New
York the most potent influence in the ad-
vancement of instrumental music in
America has been and still is Theodore
Thomas" Sc.
A considerable portion Of Mr. Krehbiel's
article Is given over to the consideration
of the merits of number of native COM
posers and to review Of the history Of
space permit we would gladly follow him
through his treatment of these most In
terestiIg subjects. 1t Is known to most
persons that Krehbfel Is an enthusiast
merriam standards of opera. This fact re-
appears In his discussion of the vicissl-
tudes of German opera In New York; but
we shall have to pass 1t by with the single
remark that, devoted as he Is to the newer
Teutonic standards, he is by no means
blind to the growing capabilities and
promise of native genius. II do not think
1t likely" he says at the conclusion of his
able and, considering Its limitations, ex-
ccedingly satisfactory paper, that the
best American music will ever be strong
ly differentiated from the best music Of
Europe. So far as the future Is con-
cerned, the American composer who Is
following the example Of his brethren Of.
Great Britain, France, Italy and Russia
In studying German ideals will stand an
equal chance with them in the strhgge
for recognition as soon as he is put upon
their level in respect of appreciation and
encouragement at home and abroad. The
characteristic mode of expression which
will be stamped upon the music of the fu-
ture American composer will be the Joint
creation Of the Americans freedom from
conventional methods and his inherited
predictions and capacities The refiec-
tive German, the mercurial Frenchman.
the stolid Englishman. the warm-hearted
Irishman, the impulsive Italian, the dar-
ing Russian will each contribute his factor
to the sum of national taste. The folk
melodies OF all nations will yield up their
individual charms and disclose to the
composer a hundred avenues Of emotional
expression which have not yet been ex-
plored. The American composer will be
the truest representative of an universal
art because he will be the truest tyne of
citizen Of the world" L. 8. r.