The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-04-27
A PROMISING COMPOSER:

u
great Joy
To the Press, which exclaimed: "A good
omen-the boy
Will most certainly make a careerw
At the great age Of four he could play all
the tunes
Which he heard on the organ by ear.
And at ten he composed such a beautiful
song
That they said: I'VE must praise, for
surely ere long
He Will make an unheard-of careerw
At twenty, symphony which he COM
posed
With delight drove musicians quite wild !;
80 the Press took him up: 1.-The work
shows signs Of haste.
But 1t promises well. and we've not the
bad taste
To discourage this talented child"
At thirty an opera came from his pen,
And to hear 1t all Londoners ran;
Again were the critics most kind: 1--WE
are glad
To be able to state the works really no.
bad,
He's promising. rising young manw
Were produced with enormous success,
And they gained for him everywhere
money and fame;
1--WE are 50 pleased to see that he's max
Ing name
For himself by degrees" said the Press
At seventy one more great work he COM
posed,
And It took the whole world by surprise;
The critics were now quite enraptured
s"In truth
He will do something yet. will this prom
isng youth,
II thus fast he continues to rise"
At eighty he died; then with sorrow they
spoke
or the loss which all Europe befell.
And expressed themselves thus: "It Is
sad We must say
That talent so great should be taken
away
At a time when it promised so we'll"
Warmers Magazine.
So
w. Won Sachs writes to the New York
Sun that Josef Hoffman,. now man
Of IS, has developed as pianist,
under the instruction of the late Anton
Rubinstein and of Moszkowski, into
one Of the three greatest living masters
Of the keyboard, his only rival being d.
Albert and Paderewski. He continues:
Josef Hoffmann's first appearance in
Vienna was effected at one of the Phil
harmonic concerts under Hans Richter,
who had heard him last summer in
England, and forthwith engaged him to
appear here this winter. That he could
not be a pianist of a mean order was
evident from the invitation itself,
which Is signal honor that no artist,
however great, is likely to undervalue;
but who he was and what he had done
were at the time of his debut unknown
to most Viennese. However, 1t needed
but a few bars of the Rubinstein D
minor concerto to convince his hearers
that a player of the first rank was
before them. His first public appear
ance in the most critical of musical
-oities was complete triumph for the
young artist, which his subsequent
two recitals only confirmed 1t is not
often that such scenes of enthusiasm
are witnessed as at the conclusions of
these two memorable occasions in the
old Bozendorfer Saal, where every one
who is distinguished in the tone world
and has visited Vienna has been heard
at one time or another The audience
positively rose as a body, cheering
loudly, and refusing to leave the hall
till servant came in to close the piano
and all the lights We're turned out.
Since Rubinstein's last appearance and
the farewell Of Alice Barbi the like
had not been witnessed"
THE TRIANGLE:
Ye countless stars both great and small,
The poetic sky who spangle,
Not one of you, that recall.
Has hymned the sweet triangle!
With Tyre and lutte too long too much,
Ye've third loves may tangle,
Yet unresponsive to your touch
Have left the sweet triangle.
And so the Muse commissions me
A lay to newly fangle-
play the instrument you see
In praise Of my triangle.
No tambourine, no minstrel bones
Give forth what Hilda Wangel
Would call such "frightfully thrilling
tones"
AS those Of my triangle.
No self-respectlng band may try
To play-twould simply mangle-
Good music, unassisted by
The silver-tongued triangle.
In vain does Strephon with q Lutte
Round Phyllis always dangle;
She'd have him, II he urged his suit
With passionate triangle
Full brave may bray the loud trombone,
Full sweet the cymbals jangle,
The bagpipes till they burst msy drone.
So have my triangle.
The stately cold plano may
All depth Of feeling strangle;
To rouse deep feeling essay.
Nor fail, on my triangle!
Ger rival claims Of violin ora
And cello some may wrangle-
For pure expression nothings In
The hunt with my triangle.
The diamond bracelet must exceed
In worth the silver bangle
No instrument. string, wind, or reed
Compares with my triangle!
........ Punch.
-
People sometimes complain" writes
Nine. Melba in Lippincott's, that the
opera is expensive. Why should 1t not
be? Paintings by Daubigny, Rous-
seau. Vibert, Cain. Jean Beraud, Detti,
ETC.. are expensive, because they are ex-
cellent. and the possessors Of the tech
nique required to produce them are
few in number and know their own
value. There are very few composers
who are able to produce really great
operas, and they must be we'll paid.
Then how many vocal artists are there
an the known world who are competent
to interpret music? Do we appreciate
the enormous expenditure of time and
4iss, La