The herald., 1897-07-04

| Singing mice, rats, pigs and other in.
teresting animals have been heard Of in
song and story, but it has remained for a
barber in Sixth avenue, New York, to
advertise Singing hair"-singeing hair
of couse is what the tonsorial artist
means.
In spite of the definite announcements
of Walter Damrosch's season of Ger.
man opera at the Metropolitan, no con
tracts have as yet been signed for thai
engagement. 1t has been whispered by
some who are supposed to be well in
formed that the final arrangements arr
hanging fire, because Maurice Grau has
declined to rent the theater to Mr. DAM
rosch and Charles Ellis, unless the
Maurice Grau Opera company is allowed
to have an interest in the season which
the company will give.
OF the playing of Miss Alice Coleman
the pianist who is to be heard at the
Blanchard Fitzgerald hall Tuesday
evening, the Boston Herald says: "Miss
Coleman is an artist of excellent pow
ers and she plays with certainty taste
and expression that are very enjoyable.
She has brilliant technique and style
that is characterized by much grace and
delicacy All Of her numbers were
marked by much sentiment" and
of Miss Anna Miller Wood, who will
sing at the same concert: Miss Wood
is fast coming to the front as an artist of
no common attainments. Her perform
ance in the Schumann cycle of songs
was one of the finest evidences Of vocal
skill afforded here in long time"
rTvt. .-.l.& l, e1-k
the Northeastern Saengerbund opened
in Philadelphia, June Il, with every
prospect of it's being the most successful
meeting that has been held In this coun-
try. Samuel Hermann directed the festi-
val concert the opening night, and at its
close "The Star-Spangled Banner" was
sung by the six thousand male voices
and the audience. During the festival
the massed chorus of twelve thousand
singers rendered the same glorious song
and the aggregation is held to be the
greatest of highly trained voices which
has ever been heard at one time. The diff
ferent qualities to be judged in the chor
US singing were intona ton. precision
light and shade. phrasing and enuncia-
tion, and prizes were awarded to the
winners.
The famous Charter Oak piano, which
has been owned by the Stuart family, in
Hartford, Conn, during the past forty
years, has been removed to New York,
having been secured by President H. w.
Greene, of the Music Teach
ers' National Association, says
the Musical Age. This piano was
the property of Mr.. Isaac w. Stuart.
Mr.. Stuart was the proprietor of the
Charter Oak site at the time the noted
tree was uprooted by an August storm
in 1856. The idea of preserving the wood
from the ancient oak in some permanent
and beautiful form was conceived by
him Immediately after the storm that
resulted in its downfall. He was fond Of
music not less than of scholarship and
oratory, and decided to have a piano
made from the wood.
Some thirty years ago the Chicago
Musical college put into operation phil
anthropical idea, which has proved Of
benefit to hundreds of aspirants for a
musical education who were without
means. The college awards each year
number of scholarships free of chargs.
which entitle the holder to instruction
for one school year. For the season of
1S9T-9S twenty-five free scholarships,
will be awarded and one hundred par
tial scholarships, the latter be-
ing liberal reduction from the
regular college rates. These scholar
ships are awarded by competitive ex-
animation. They are open to applicants
from any part of the United States, the
only requirement being that they bring
a letter Of recommendation from the
pastor of a church, principal of school
or other reliable person. Applications
are now being received. and the exam
nations will commence on August 9th.
An interesting bit of news regarding
Leoncavallo is that he intends to have
'Trilby" turned into libretto for his
next opera. He read the story in a
French translation, and 1t seemed to
him we'll adapted for operatic purposes.
'There is poetry and music in this Tril-
by" lie exclaimed. A Viennese Journal
ist interviewed this same Leoncavallo,
says the New York Post, regarding his
musical preferences. When Goldmark,
Brahms and Brull were named he sim
ply bowed in respectful way, but when
Schubert and Wagner were mentioned
he grew enthusiastic. There is but one
Schubert" he said. Ordinarily, when
hear a poem that some one else has
set to music, l fancy that I might be
able to write something as good, if not
better But in the case Of Schubert one
always has a feeling that these verses
must not be touched by any one else, but
must be sung always as Schubert set
them to music. AS for Wagner, he is not
human being, but revolution. 1t is
impossible to write bar without think
ing of him. And yet one must not go
too far; circumstances altar cases. If, for
example, I bring upon the stage man
In modern evening dress, it would not do
to have him accompanied by the clas-
sical music of the ride of the Valkyries.
For Humperdinck also Leoncavallo ex-
pressed great admiration; yet he added
that in his "Hansel and Gretel' the use
made of heavy Wagnerian orchestra
ton to illustrate Grimm fairy tale
seemed to him somewhat like dressing
a doll in an iron coat Of mail.