New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-01
MUSICAL GOSSIP.
OPENING OF THE CASTLE SQUARE con-
PANY's SEASON - ENGLISH COM
MENTS on MR. PARKER'S
ORATORIO-NOTES AND
PROGRAMMES

ORATORIO-NOTES AND
PROGRAMMES
The ambition If the Castle Square Opera Com
pany grows apace. and It will begin its third sea
son at the American Theatre tomorrow evening
with an English version OF Wagners MeisteI-
singer" It Is venturesome Undertaking ana
NAV be looked forward with interest. as well as
curiosity More fairly within the scope of the COM
peny are half q dozen operas IN the rtpertoiy lhd
out for the season which are either new or as
good as new "a local audiences. These are La
.rarantella." ty Jakobowski. tho composer of "Er-
mimic" which was brought forward IN chicago
last season; MendelSsohn's son and stranger I'VE
assume Il to be Mendelssohu's). "Fhe Ycomen 81
the Guard" THE Gondoi,rs The Mascot
'1olan4be" "Nanon" and "rhe bohemian Gill
But why should the names az Mozart he ahr'ghted
nv an announcement Of Don Giovanni? The ros-
ter ~ the company contains the following names;
Sopranos Yvonne de Trevile. Grace Golden Selma
Kronold. Cecile Hardy. Marie Mattfeld y hIoise
Morgan. Gertrude QUinlan, Mary Carrngton ana
pevs darcy: confraltos. Mary Linck, Maud Lam
hart BESSIE TannehiI Bernice Holmes and Della
%tven: tenors Joseph r. Sheehan. Barron Berthald,
REGINALD Roberts Rhys Thomas. Frank Mouan
and Harry Davies; barytones. William q stewart
william Mertens Homer Lind. Harry Luckstone
and Percy Walling: bassos, oscar Philip Regneas'
II y knight Il T. Butler and Louis Cassavant;
musical director. Adoph Liesegang. and Stage d.
rector. William Parry
Several changes have been made IN the theatre
floor az the orchestra pU mas pftH toNFtf~ 80
feet and the band Will he out Of sight. The stage
has also been deepened and a new act drop paint
% 10 enable singers respond 10 recalls without
DELAYING the work the stage Following IS the
distribution Of parts for tho Arst performance ot
Die Meistersnger't
y4srs william Martens
fcgne~ observation-disclosures. H. D. knish5
tesknesssr Homer LIMO
fofhrsr ............... Iiarr, Lncksone
pauc Te-cv Wsi,rg
fai~+ii'1" yyor-e de TrevIile
During The rest Of the performances Mr. Rsgneas
1rtl sifSrrafe ; Hans Sachs. Mr.. y. L. Butler as
Poancr NJ Joseph F. Sheenan as Waiter ana MISS
Ce1e Hsray as Eve
This Is what Mr. Joseph Bennett. h5rettist in
ordinary 20 English festivals, thinks q American
,ousi, and Incidentally Of Professor Parkers nora
-Sovissiraa" II appears n The London Daily teie-
graph"
seaeraly known seyera Aere9n To baye
had hearing n EnelanG 9ino3s tnf" d, Hera my
M Dudley Buck. NJ ChaoWl.A ana &C. rsti inc
% iay our kin-non sent u.s. Tor inc hrSt I'm,
iesNtl So -, - .s de,ou,lv 10 re hoped that
n nor pToEIai,..,r ~ iorr seres of such fam
Nv a1oeni.ies The chief gain would prooa2y re
ours For many years past English music-that Of
~ church espccialiy-has found IFS way ~
America. not without influence n healtAly con.
servafive character. As yet hoWever. mere e nSs
been little reflective action upon ourselves 'holsa
such action IS bound 70 cone ne soorf i 10 our own
1sas irgDire1 by temperament and surroundings
'rsSa dlr 20 in his art know Of course
mat America has. in musical sense 1een lais
G6e9T 6 tho S' rni'dd SHES IS an porant factor
bur the dominant race u.s. ana aIwsls W., W. ~, 10
essentiaiy National manifestation. there Gan
I hi between the art Of America and Of England
II may be said that the music u Aihelio@ $3.50 d. 3
ypmcb the setter. We may influence u In proportion
as its tendencies are revealed 10 7 t,. means
90 s,-mratnetic public taste and by the HlehuE
criticism OF those who are qualified TO st on inc
oGtc IL IN in The orchestral nerudes and acCompan
nT r. i,self In plav ~ color and hgurauon the
composer while nowhere exiravag4niI snow t IA
a. a. e. i Works which are orthodox in form and
yoc o CHeracter for larger and more highly DE-
veloped orchestral effects han even u. m"S, ~
1872 ,:erv broadly asserts this fact. he holds
firmly by classical usage IN vocal nuslc ne W. -
writes a fugue d contTapuntal movement d
cspella and 70 on. In far as this cQmblnauoh
q the classical and modem IS ,5 an am
and as all who heard the work to-day yIoudDy
technical skill artistic restraint and good taste
with which both the vocal music ana mat lot
ough.y well put together by the hand OF an efficient
method adopted 70 reach them never leaves the
observer in doubt 10 its purport and intention
suspect that y 4 fail m tho points Just indicted
he fault must ne ~ our G" hgS nd
technical musician Professor Parker Is entitled 20
Within CERTAIN limits the composer draw
wholly upon his own individual resources 10
own and some Of its characteristics appear 10 have
been absorbed so completely ihaj ne cannon "l"al
The work are easily traced 10 Gounod- There are
Mendelssohn and Schubert "reminiscences Of these
occur unconscious.y or. II not mon arc coniposeIs
leaving whst is a comparatiyely small point. JET
s.eian rises with and certainty nearly. II not