The herald., 1896-10-25
} MUSICAL COLUMN !
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Genuine interest will be revived a.
the definite announcement that Miss
| Ellen Beach Yaw, the soprano with the
extraordinary compass, whom Los An
geles Is proud to call her own, will short
ly be heard in concert here. Miss Yaw
whose much-heralded appearance here
some months ago, was, through mismar-
agement doomed to disappointment, has
| been exceedingly fortunate in securing
as her manager the famous imprissario
Major Pond. He has already made ar
rangements for Miss Yaw's tour this
| season, but beyond the fact that her
| first concert is to be given in Los Ange-
| les about November 16, even the soprano
| herself is in the dark Miss Yaw's ap-
! pearance here will be waited for with
much interest. We have read so much
| concerning her phenomenal vocal pow
ers that we cannot rest satisfied until
we have heard them.
The musical event of the week was
Signor Perera's initial concert at the
Blanchard Fitzgerald Music hall. The
| mandolinist proved conclusively to q
delighted and critical audience what
rare mastery he has over his instrument.
His selections included Kniawiak Sie-
Idukd anu d LEGEND Dy WleuldWSKl, a
| Hungarian dance by Brahms and a
fantasie of his own composition-all
| music generally regarded as beyond the
comprehension Of a mandolin, but to
| which the artist gave admirable ex-
| preston Perera was assisted by Mrs.
DIR. Owens. who has rich contralto,
. and sang Awake Saturnia and the aria,
Nobil Signor, from Les Huguenots, very
effectively, and Mrs. T. Masac, the WELL
known pianiste, who especially distin-
guished herself in her Interpretation of
LISTS Rhapsodie No. 2. AS usual, Miss
Blanche Rogers was all that could be
desired as an accompanist. Signor Pc
rera is distinct addition to our musical
strength, and those who desire to study
the pleasant little instrument cannot
do better than place themselves under
his tutelage.
Herr Philo Becker's piano pupils re-
citals are always exceedingly interest
ing. He is early in the field this season
and announces his first recital for next
Wednesday evening at the Blanchard
Fitzgerald Music hall. The following
program has been prepared:
Clique .................... .Scarlott1
Chant Polonais.. .LisAt
Gr1llen ACKNOWLEDGEMENTS ..Scnumanu
Miss Miriam Barnes.
Gondoliera ...............'..,.,,,...; .;.;.Liszt
Miss Gertrude Paine.
Fantasia, Z minor. .MOZdrt
Miss Bernice Roche.
Nocturne ....................... Chopin
Clique ....................... bach
Paloma Schramm.
Etude de Concert.... .LlSzt
Miss Blanche Rogers.
Pastorale .................S .Stavenhagen
ValSe OBSERVATION-DISCLOSURES. CHOPIN
Miss Bernice Roche.
Cantique d'Amour List
Mrs. Botsford.
| Octave Study No. 7.............. KullaK
Miss Miriam Barnes.
Fifteen years ago Materna, Leh-
mann, Sucher, Brandt, Maltern, Reich
-Kindermann, Niemann, Vogl, Hill,
Fischer, and others were in their prime,
Wagner opera was much better sung
by Grmans than by singers Of any
other nationality. But times have
changed; the greatest Wagner singers
are no longer Germans as a rule, nd
it is for this reason that the lovers of
Wagner now look to the grand opera
at the Metropolitan for their highest
pleasures especially since Mr.. Seidl oc-
oupies the conductors place-and Seidl
is not German either! In connection
with these remarks the following para
graph from an article (Munich and
Bayreuth) in the October Fortnightly
Review is of interest:
Now that detestable singing disf1gures
even the mot carefully prepared and the
most loudly advertised performances in
Germany without exciting any serious
protest either from the German press
or from German audiences. it is time to
pause. 1t is not so much that Wagner
ruins the singers as that the singers
coming insufficiently prepared to their
task, ruin Wagner. When we have
Jean de Reszke giving vocally unap-
proachable performances Of Tristan,
Van Dyck maintaining himself as the
only possible Parsifal, Edouard de
Reszke interpreting the typically Ger
man part of Hans Sachs. not only with
a finished art which leaves far behind
that of any German but with perfect
simplicity and pathos, we see that the
any monopoly, even in the interpreta-
tion of Wagner.
Prof. Max Muller's Musical Recollec-
tions, which are printed in the October
Cosmopolis. reveal that eminent ORR
entail scholar as a typical gentleman
of the old school. Fl began" he says,
with Haydn. Mozart, and Beethoven
lived on with Mendelssohn, rose to
Schumann. and reached even Brahms;
but could never learn to enjoy Wag-
ner. except now and then in one of his
lucid intervals" Unlike most of those
who find themselves in this predicament
he is modest enough to add, "No doubt
that is my fault and my loss" What
is stranger than this is his ability to
appreciate Liszt, whom he knew per-
sonally, and who wrote one of his last
notes Ga facsimile of which is given) to
him. II saw his entrance and his ex-
it. and when I asked myself. what has he
left behind? I could only think of the
i1ew school of brilliant executionists
of which he may he truly called the
founder and lifelong sxpounder" OK
ford being very conservative and Eng
lish musical town, it is perhaps not
strange that this oxford professor
should not know anything of the epoch
making symphonic poems and sacred
compositions of Liszt but it is odd that
he should have an inkling of the most
conspicuous and brilliant of Liszts
ach;evements-his splicing the whole
atmosphere of European music with
Magyar and Gypsy perfumes. The
Gypsy elements in Hungarian music
come from India, the special field of
Max Muller's researches.
STRAY CHORDS.
The music at st. Vincent's church this