The San Francisco call., 1896-03-26

fFr0m an engrduingl
maintains excellent discipline, as well as
being able to excite the interest and ambi ton
of her musicians. The new departure has ex-
cited great interest both in Denmark and
abroad.
The numerous changes which are being
made in the suburbs Of Vienna have just
brought to light an interesting souvenir OF
Franz Schubert. In reconstructing an old
house in the subur of Waehring the workmen
discovered an inscription which recalls one of
the composers most charming melodies The
inscription is conceived in the following
terms: sFranz Schubert composed in this
house, then named the Beer Sack (Bier Sack,
in June, 1926, on a Sunday afternoon, sur
rounded by some friends, and in the midst OF
the clatter of the inn, his song, 'Harkl the
Lark 1t was the celebrated aubade on Shake.
speare's words. which has remained as fresh
as his serenade, and which has been sung so
much that it has become almost banal. In the
suburbs of Vienna almost all the inns are pro-
vided with gardens (Gasth ausgartenl, where
the habitues sit in fine weather, and it was in
the garden of an inn, opened in 1871 by a host
named Biersack, that Schubert composed his
aubade. The inn and the garden still exist,
even to the spreading chestnut tree beneath
ent proprietor of the place has changed the
name, however, since the discovery of the
tablet and the inn is now known as Schu-
berss Garden.
The celebrated tenor Tamagno has just been
the object of a most unprecedented exhibition
of interest on the part of the Gear. Tamagno
was singing at the Aquarium in st. Peters
burg, and at the end of his engagement the
Gear desired him to give one performance of
"Othelio'' at the Imperial Opera. The tenor,
however, was under contract to proceed tmme-
diately to Monaco for the opening Of the opera
season. The Gar wrote q personal letter to
the Princess of Monaco begging her to grant
Tamagno delay, q request which was imme-
diately granted. The aristocracy of the
Russian capital all felt it incumbent on them
selves to attend the special performance of
"Othello," and the price of seats assumed
enormous proportions. A simple seat in the
orchestra cost $50 (three hundred franes), and
boxes were as much as $400 and $500. The
performance was grand success. Tamagno
set out for Monaco the next morning, and the
Gar, not wishing to repay HIM for his delay
with money, sent his daughters a present of
magnificent set of jewels.
Reginald de Koven is complaining bitterly
that very few of the artists in the Damrosch
German Opera Company can sing. He says
Max Alvary depends entirely on his per-
sonality for his success, and that as an
exhibition of absolute vocal incapacity
his singing is unequaled Speaking of
the surprising badness" of Alvarys 'sTann-
hauser," De Koven says: "In western wilds
and frontier towns meu have died for
less; his performance was simply impermissi-
ble." Frau Klafsky comes in for her share of
blame. De Koven owns that she has a "gor-
geous voice, but he says She cannot produce
it, and reviewing the company in general he
says: "I often think regretfu11y when hearing
German opera by German singers, how many
good voices there are that are marred, ruined
and let go to waste for lack of q little intelli-
gent vocal training"
A wonderful child of 10 years old is astonish-
ing the Partisan public. She is named Jeanne
Blancard and she gives recitsls at which she
appears as pianist, composer and improvisa-
trice. A programme was recently performed at
the Borodine, entirely composed of her works
They were fifteen numbers, nine for piano, all
of which she played herself, two for violin,
two for violoncello, and two songs. The critics
were astonished at the ripe and artistic play
ing of the child, and say that if as a composer
her works are not marked by much breadth,
her Imagination and knowledge of musical
form are extraordinary. 1t may be that little
Jeanne Blancard is the long-looked-for female
composer, WHO AS tO wipe away the TeprOaCQ
that no woman has ever stood on the same
plane with men as q writer of music. Many
charming compositions are due to women but
hitherto they have written no great works.
In France the cost of paying claque to lead
the applause is regular part of the running
expenses of q theater. There has been some
talk of abolishing the elaque in theaters subsi-
died by the Government, but the Administers
xiny1 ,fE Yno Ar&c hac sf1oe ~,
claque at the Opera Comique shall be in charge
of an official engaged especially to hire and
superintend it. This agent will have certain
number OF places assigned to him for his
"clappers," and the men he hires will be ad-
mitted on Identification, in order that they
may not sell their seats to others. The agent
is also formally pledged not to receive the
smallest remuneration from any of the per-
formers, as the Administration of Fine Arts
has decided that no artist shall win an illu-
sionary success by bribing the claque 1t was
the protests raised by the composers, the sing
ers and the ballet dancers which decided the
Government not to abolish the claque.
The Gazzetts Officiale of the Kingdom Of
Italy publishes royal decree by virtue of
which the rights of Rossinfs "Barber of Sc
Vile" are protected for two more years. The
opera was first presented in 1916 and should.
according to the law, become public property
IN 1896 leighty years being the term of the
copyright), but as the Music Lyceum of Pesearo
exists to large extent on the revenue which
the royalties of this work bring it, the authori-
ties have judged it proper to prorogue the ex-
piration OF the copyright in its favor. It is
strange, however, that sovereign decree can
nulllfy general law. Even in the interests Of
art, this seems scarcely right.
The chair left vacant by Ambrose Thomas at
the Conservatoire should fall either to Mas
senet or saint-Saens. Both Of them are most