The record-union., 1896-09-06
CHAUNCEY OLCOTT.

11rst night he will present the romantic
play, "Mavourneen, tale Of Irish life
full Of heart interest. The second night
the play will be THE Irish Artist" OIL
cott's manager, Pilon, brings with him
large quantity Of scenery and stage
fittings, and the same company that
supported Olcott in his recent success
ful engagement at the California The
ater in San Francisco
The difference in what is termed
music and speech is putting the tone
III spaces. Music is put into shape to
be designated by time-spaced-it may
BE- but the thirty second part Of a tone,
but it is timed to make melody. Speech
is vocalization, not designated by time,
The forming the hold" That is, each
tone produced is made on the vowel
and the viviidness or distinctness of
the word is distinguished by the conso-
nant. The music of the speaking
voice. is not an unknown quantity 1t
is possessed by many. Few of us real
ize the power one has, possessed of that
gift, a musical melodious voice.
The laws Of the speaking voice are
the same that govern the singing
NpAIt. IL - NhAAC 40 lHdl
there are so few singers as that there
are 50 few speakers with attractively
musical voices The speaking voice is
2 daily necessity, and we are so given
to humdrumming on a few tones that
before we know it we are weary list
eners of such monotony. We can't al
ways tell why, but the thoughts ex-
pressed may be interesting, yet you will
general feeling Of wanting to take a
good long breath.
The readiness with which we can in
tone up an down the musical scale
gives to the voice what we all, meta
phorically fall down and worship, and
that is a musical voice.
The popular speaking voice Of Ameri-
cans is a national characteristic, due to
our mode of life. The especial keynote
OF voice is indicative of temperament
and its fluctuations, but the quality
Of that voice is governed by the char
acter, not the acquired or semblance Of
what we wish to be, but of what we
really are.
America is in the stage of effort, not
quite old enough to be even reposeful in
body, and this peculiar voice is a result
of doubt, uncertainty and anxiety. 1t
ia wonderful how the blind can detect
character in the voice, and we with all
our faculties know the true ring Of
sincerity in voice, or the shifting un-
ertain tone Of the fallaciously inclined.
Exchange.
While travelling through France before
his departure for India, Bancroft, the
II IL 4 -
liable discovery at Cherbourg. France,
which is likely to create a sensation
when he presents ii in this country. Ii
consists of the original paraphernalia
Of a daring trick performed a century
ago. The mechanism was al original
device Of the Count Edmund de Grisy,
tutor Of the renowned Houdin. 1t is Of
remarkable workmanship, ingenuity
and design, and was invented to per-
form the feat Of apparently cutting a
man In two. The trick is said TO have
been performed for the first time before
the Sultan Of Turkey, and that individ-
nal was so profoundly impressed and
excited by it that he presented the
Count with a necklace of pearls, which
he wore about his neck 1t was AFTER
ward performed by Houdin on one or
two special occasions.
Bancroft bought the outfit for S3,OOO.
A few days ago Manager Edward l..
Tloom received the mechanism at his
New York office. The autographs OF
both HoudIn and de Grisy are carved
on the outer box.
There is a general impression that
musical critics would rather find fault
with than praise performer There
may be such, but the normal critic is
always delighted when he can write
about an artist whom 1t is almost abb
surd TO criticise, because, though he
may make an error, ii is nearly al
ways an accident and not likely to oc-
cur again. Paderewski is such an ar
tist The De Reszke brothers are two
more The leading critics Of London
recently gave expressions to their feel
ings of gratitude and admiration in a
testimonial TO these two artists which
Is