The record-union., 1896-05-10

the hair, but that such is the case mas
lately been recognized as a scientlhc
fact.
while brass wind instruments event
ually cause the hair to come out, 1t mas
been found that the trombone is es-
pecially severe on the artist. There are
cases where a trombone players scalp
has been denuded in less than f1Ve
years. Quite the other extreme is notice
able where the artist is pianist. The
latter's fine head Of hair has aroused a
great deal of humorous criticisms from
the public who think the solution lays
in an economy of hair cutting. Instead
of a fad, their abnormal growth is the
result of their music. Liszt's hair,
which grew very thick, did not even thin
with age. Among the pianists who go
to prove the stimulating influence of
their playing on their hair may be cited
Slavinski, the great Polish pianist; a
personal friend of mine who often COM
mented on how the heads Of pianists
and cOrnet players differed although Of
fering no explanation of the phenomena.
Verdi, Mendelssohn, Beethoven, Chopin
and Rubenstein are very we'll known ex-
amples
Then, known to the American public
by sight, are Damrosch and Paderew
Ski. It was the latter'S remarkable
capillary development that first di-
rected attention to the subject and led
to the charge that musicians were
throwing hair instead of soul into their
compositions. VioliniSts also enjoy the
beneficial results from their playing.
Ole Bull had hair to his shoulders and
often complained Of having to waste
time in having it cut. Then we have
Laurel, Marsick, Ondricek and Paga
mini. l believe heinfluence on the nerves
is communicated to the roots of the
hair, and stimulates them, but in the
case of performers on brass wind instru-
ments, the notes have a deteriorating
effect. They are harsher and lack the
qualities that seem to act as a stimulus
in the case of the pianoforte and violin.
Take for example Jules Levy, who is
very bald. The cornet made him as
bereft of locks as the piano endowed
Paderewski. Walter Rogers, the leader
Of the Seventh Regiment Band, from
much cornet solo playing, is becoming
bald. Other illustrations are Adam Sci
ferth and Dietz, who played with
Thomas"
was West Points first bandmaster
Professor Rehm said that he had OBJ
served badness to be especially preva-
lent among musicians in regimental
bands and the members of theatrical
orchestras. "Trumpeters badness"
was a well-known affliction among
them. Professor Rehm said he believed
in their case it was partially induced by
l.o.x, L. ,l,s1
performing. The exertion Of blowing
affected injuriously the scalp. Dissipa-
tion was a contributory cause also.
Miss Geraldine Olliffe, who is to play
the leading female part in the new COM
edy which Henry Arthur Jones has
written for E. Willard, is young ac-
tress who has had a good deal of stage
experience in Australia, where she has
played successfully the leading parts
in THE Second Mrs. Tanquary." THE
Masqueraders," THE Ideal Husband"
"A Woman of No Importance" "A
Bunch of Violets," "John-a-Dreams"
and Lady Windermere's Fan"
]. K. Paine. the composer and Pro-
fessor of Music at Harvard College,
sic. He recently said to a writer for
Music: Speaking Of composing Amer
lean opera, I differ with your father
very widely on a point therein regard
to localization and patriotism in music
No one but Dvorak and Grieg has ever,
to my mind, succeeded in that sort of
thing, and Dvorak distinctly missed
Americanism when he attempted to
base his work on negro melodies. No.
Not even in the great masters Of Ger
many or Italy do you find such local
ization. They are great because they
are individual not because they are
LEGAL or patriotic. There is, to be sure,
a certain definite manner we term the
German school, and another the Ital-
ian, and so on. 1t is barely possible that
we may at some time have represent
atiye American school. But / doubt it
very much. The time for such q thing is
past. We have now not national, but
information music, and it makes no
difference whether I compose here or in
st. Petersburg so long as I express my
self in my own way For instance, your
father often says we should choose sub
jects from American history for Amer
lean grand opera. Not at all If l
should ever choose to write an opera /
should be as likely to lay the scene in
Provence as in America. Such nation
alism is beneath music.
The New York Critics" Lounger
had recently an interview with Her
mann Sudermann of Berlin, the author
ard critic. In it occurs this passage
concerning Duse, who is to visit Califor-
MIA presently:
When asked how he would compare
Duse and Bernhard. he replied diplo-
matically: Il cannot think of them in
common. They are so absolutely dir
ferent. and at the same time so supreme
In their separate styles Of acting, that
they cannot be compared. To Duse.
however, feel particularly indebted.
for she came to Berlin when my Hell
math' was being played, and the part
OF Magda was in rather unfortunate
hands-at any rate, the public did not
seem to sympathize with the charac-
ter. When Duse took hold of it the en-
tire play got a better hearing, and L
feel that not a little of its success was
due to her acting"
Rivarde and Lachaume had a very
small audience at their Sacramento
concert, which is regretable. They
were entertained royalty at the Sutter
Club that evening and recovered some
thing OF their spirits in consequence.
They have now gone north and return
about the last of the month to appear
at the Baldwin Theater. 1t is now
proposed to have these artists play
again in Sacramento. But to accom-
plish that a subscription is necessary.
There are lovers of good music in Sac