The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1895-04-11

culine than any other kind of woman. 1t may
also be that woman cannot well devote the
time she should, and that man would. In
her singing capacity prima donna works as
hard as q man, but if 1t came down 10 COM
posing-counterpoint, harmony ana all that
sort of thing, 1 don't think so. You will find,
too, that as rule a composer has begun his
career as child of or years old and a
woman has not. Look at that Hoffman boy for
instance. He began st years of age. 1t is
very seldom that a girl of 5 or knows any
thing about harmony or counterpoint. Take
those choirboys in England. Where do you
find girls or years old singing in choirS?
The reason is that woman does not begin early
enough. 1 do not think that she doesn't want
to, but don't think she could"
In discussing whether women are possessed
of the creative faculty Miss de Lussen says she
thinks they are charming composers of ballads,
but when it comes to symphonies and grand
operas they cannot, in her opinion, compete
with men.
Back in the last century, when Gluck's
"Alceste" was produced at the Opera of Paris,
and was at first coldIy received, the great CON-
poser exclaimed: "'Alceste' will not only please
now in its novelty. 1t knows no time and
affirm that it will please equally in two hun
dred years, if the French language remains the
same. The reason is that l have built it on
foundation of nature, and that is never swayed
by fashion"
How strangely prophetic these words werel
The other day the temple scene from Gluck's
"Alceste" was revived at the Paris Conserva-
tory, and seldom had the building resounded
with such applause as IL aroused. The music
of the classical master performed the miracle
of thrilling public surfeited with good music
It was very evident that the simple accents of
the noble tragedy had kept their power, and,
in spite of the progress accomplished in the
technique of musical art, the inspiration of the
old master had remained young and vivacious.
Corney Grain was not great musician, but
in his musical sketches and Satires, for which
he was famous as an entertainer in London, he
was able to ridicule in a good-natured way all
the follies and affectations of the musical anna
teur as perhaps no other man has succeeded in
doing. 1.-THE average audience" Grain used to
say, expects high note at the end of song.
If the song terminates without one they fold
their hands and say, THAT is not the end; give
US our high note.'" Every abuse of singing
and pianoforte playing was delicately held up
to ridicule and laughter at some time or other
in the course of this gifted entertainers career,
and unconsciously he did much to improve
musical taste. His sudden death from la grippe
has been recognized in England as d national
calamity and high social and church dignita-
u
drawing-room actor, German Reed, who was
for years associated with Corney Gram, died of
la grippe one day before his friend.
A composer, Adolph wibelle, to whom long
time ago brilliant career seemed to be open-
ing, has just died in Paris forgotten and neg
lected. Twenty years ago Wibelle's opera
comique, in four acts, "The Alibi," was PLAYED
very successfully in Paris, and enjoyed long
run. Among other works of his that found
favor were "The Fountain of Berry and 'sThe
Benediction of the Neva" The latter work
contained some very beautiful and exalted
passages. unfortunately, however, Wibelle
had more exalted views with regard to compo-
sition than his talents justified him in attempt
ing. He gradually slipped out of the public
view, and at the time CT his death, which took
place in his SEVENTEEN year, he was entirely
forgotten by the musical world
There are all sorts of rumors about Verdi I'M
dertaklng new opera, though the aged COM
poser stoutly denies them all. One story is to
the effect that Verdi is at work on one-act
opera, the plot of which is founded upon the
deeds OF his old friend Ismail Pasha, the late
khedive of Egypt The Pasha was certainly
warm admirer of the Italian maestro, and not
only commissioned him to write his Egyptian
opera aida" but mounted it layishly when it
was produced in Cairo
The noises of London streets have been
constant source of annoyance to foreign must
clans. Anton Rubinstein was known to bound
from the piano-stool in the middle of Chopin's
"Marche Funebre" in ST. James Hall when the
coach horns outside in Piccadilly broke in upon