The record-union., 1899-11-26

his own amusement, for the writer re-
members talking on the texts with him
Gall that could be talked about at the
time), in this city, before he returned to
Europe, and the composers tone was
that the work was something he had
done for himself.
The Hartford '"Times'' recalls the fact
that Signor Foil, the basso, who died
in England a few days ago. was long
a resident of Hartford, Conn.,, where
his brother, William R. Foley, is still
living. Signor Foil, as he called him
self when he adopted his profession.
was a carpenter in Hartford and be-
gan his musical career as basso of the
choir of South Church, of whose Music
Committee the Hon. Marshall Jewell
was Chairman. 1.-The Hartford friends
of the singer" says 1.-THE Times" "be-
gan to encourage him to take a period
of study abroad. He left for Europe
the day before the Southern blockade
was ordered during the Civil War. But
before leaving Hartford he took part
in memorable concert given at the old
Turo Hall for the benefit Of the soldiers.
In the concert he sang The Battle
Prayer by Hummel. 1t left the grand
est of effects on the audience Signor
Foil studied chiefly in Italy and Eng
land. He left here in 1861 and did
not come back until 1878, when he re-
turned to the United States with the
Mapleson Opera Company"
The Grau Opera Company is to pre-
1txy1 1ofa IN, l.. r.
shape of 1.-The Merry Wives of Wind
sor," in German. Fritz Friedrich will
be the Falstaff and also the Beckmas-
ser in '"The Meistersinger. Mozart's
comic opera, '"The Magic Flute" is also
to be given.
1.-THE Singing Girl" a new comic op-
era written by Harry B. Smith and
Stanislaus Strange and played by Alice
Nielsen and her company, was given
its first performance at Montreal re-
Gently. 1t is said to be tunefu and
lively. while Miss Nielsen has a taking
dual role. as the singing girl and a
peasant boy.
Contemporary Review: Russian music
is the strangest paradox-it owes more
to the music of other countries than
any other school, yet no music is more
thoroughly individual and unmistak-
able. 1t clothes itself after the form
and fashion Of its neighbors. but be-
meath its garb peeps out a physfognomy
indubitably Slavonic Sixty years ago
there was no Russian school of music
properly speaking; then suddenly 1t
sprang into being. The man who first
turned with serious intent to the pent-
up musical resources of his country
was Michael Ivanovitch Glinka 1891
1879 He had sufficient strength of
purpose to carry out his designs--he be-
came the founder of the modern Rus
sian school of music, and the father
of Russian opera.
In spite OF all apparent contradic-
tions and anomalies, Glinka's life-work
and tendencies were the natural results
of events; his course was directed by
the tide of circumstances, as a brief
study of Russian history will show. He
did for Russian music what mis- .,ontem-
porary, Pouschkin, did for Russian lit
erature, each in his own department
representing national movement. Per-
haps 1t is not too far-fetched a theory
to trace this movement to the moment-
Gus date 1872. when 1t fell to the lot
of Russia to administer the first check
in Napoleon's triumphant career. To
have repulsed Napoleon was a mighty
deed. which could reveal 10 the Pus-
slams of what stuff they were made.
/, Glinka, Pouschkin, and their followers
sought no foreign aid; they represent
Russian renaissance. They we're con-
tent, indeed, TO abide by the forms uni
versaiiy ADOPTED elsewhere, but the
spirit OF their art manifestation was
Russian to it's core.
In literature. Poushkin ard Gcecl
were never weary o. delinearing their
compatriots in evary grade of Slavonic
society, while GlinAa took his musical
'inspira tons from his native eoIIS-eones
and dance-rhythms-from the historic
chronicles Of his country or. its legendry
lore. In reality. the foreign influences