New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-05-31

singers. The Misses Harris. van DlesSei' 1000
bach and Schaffer will be taught the parts winch
they are expected to fill in the School OF Opera
which Mr.. Conried expects TO open on MS return
from Europe. Miss Schaffer is a resident OF
Brooklyn, but born in Plainfield. n. j. anu
has been pupil of Miss Emma Thurshy Her voice
is dramatic soprano Miss Harris VINO comes
from Easton Pa IS also pupil Of Miss Thursoy.
She is the solo soprano of the Church OF the IL
vine Paternity. Mrs. Jacoby is known on the CON
cert stage but has dramatic experience MI
Kronold was connected with the Hinrlcns ana
Castle Square English Opera companies, and has
also sung in German opera
Madame Lillian BIauveIt whose latest portrait
in the character of Juliet is presented herewith
expects to make her operate debut at Covent car
den London in a day or two. Madame Bauvelt Is
a familiar figure in New-York where she received
most Of her education and where she has been re-
peatedlv heard since she began her career
She was born in Brooklyn March IS. 1878, and
took I'D music as child her instrument being the
violin and one of her teachers Richard Arnold
vice-president and concert master Of the Philhar-
rnonic Society. She played in public when eight
years old and devoted herself to the violin TIL she
was fifteen. when she began singing. She was
pupil of Jacques Bouhy at the National Conserva-
tory and TO him she went again after some years
of concert life going to Paris to have the beneht
OF his instruction. She then made brief essay IN
opera singing in 'Mireille'' at Brussels She then
returned to America, and since then has confined
herself to oratorio and concert work. In 1855 at
Rome she sang the soprano colos in Ferdfs
Requiem" and afterward before Queen Mar
gherita at the Quirnal. In 1901 she was decorated
with the order of ST Cecilia by the oldest musical
society in the world, the Royal Academy OF ST
Cecilia founded in Rome in 1885. OF late years
Madame Blauvelt has divided her time pretty even
" between Europe and America.
A book which be highly recommended 10 the
careful study of organists is Johann Sebastian
Bach. the Organist. and His Works for the Or
gan by A Pirro translated from the French by
Wallace Goodrich and published by G. Schirmer
The book itself. which is admirable study Of
Bachs works. shows their development from the
earlier compositions of Frescobaldi Froberger and
others, and is than usually accurate, consid-
ering the nationality of the author Slips there
are OF course particularly in the references to the
vocal compositions of Bach which less known
the French church musician than the organ
works. Mr. Pirro's study is preceded by delight
fully ofhand and stimulating essay by NJ Widor.
in which the great French organist excoriates
many of the folies of to-day, yet never delivers
himself into the hands of the conservatives. There
valuable hint for instance. this bit of infor
nation
In the organs Of Bach's time the reeds were
scarcely used except in the capacity OF basses re-
stance hautbois and cromornes; our profusion Of
sonorous clarions, trumpets and bombardes was
a full battery OF four eight. sixteen and thirty
two foot STOPS but simply the combination of some
prestants and mixtures with dapason or bour-
don AS for the means of varying the intensity of
the same tone, such thing was never thought Of
NJ Widor is wftheringly sarcastic at the expense
of the many organists who have fallen into the Ia
mentable habit Of forgetting their feet and leaY-
ing them the pedals after they have ceased
playing with their hands The custom, all too gen
eral. reminds him Of an old viola player at the
Paris Grand Opera, who regularly went to sleep
during the fourth act, depending the friendly
offices Of his comrades to arouse him at the end
of the performance. One fine day there was
change of management, and orders were given
that the sleeper should not be awakened. The
opera was Meyerbeer's Prophet" Neither the
crash of the introduction. the collapse of the pal
ace. the din OF the orchestra. the tumult of
players and audience leaving the theatre could cut
short the peaceful slunber of the viola player.
When he finally opened his eyes in the profound
darkness he believed himself in the Internal re-
gions. and on attempting TO make his exit pitched
headforemost into the kettle drums. which col
lapsed The next day his eligibility to retirement
was recognized
NJ. Widor enforces precision in playing the organ.
the same precision from both hands and feet that
expects from orchestra under the sharp
beat of a conductor. Likewise a rigorous legato in
all the parts in poyphonic music; attention to
rhythm, Indifference to which he says is a crime;
avoidance Of the free staccato: he watts a quiet
compOsure in playing "A good Organist sits firm
~. well balanced upon his bench. inclining slightly
toward the manuals. never permitting his feet TO
upon the frame which surrounds the pedals,
heels and knees riyeted. so to speak. together
Comets and mixtures and the other registers Of
the organ Of Bach's time furnish the proper tone
material for plain song.
". Pirro distinguishes between two periods in
Bachfs creative career in the first he studied and
initiated the methods of Buxtehude and Pachelbel.
He did not generalize: his compositions manifested
no other characteristic than a temperament re-
markedly capable of assimilation In the second
period he generazed; the works dc not so strong
" recall their forerunners: skill is dominant and
the touch characteristics finally he evolves style
which has been able wrest from him;
one has been able follow. much less equal
him. lie closes the domain efectually
Beethoven did that of the symphony
We find in this book distinct utterance on a
subject discussed last week in The Tribunes
view of the Bach festival a Bethlehem. The
ter being still warm in the minds Of a score of
New-Yorl1 organists who attended the festival,
seems worth while to quote it,
Scheihe. Adlung and others permitted in the ac-
G"TnTs ninent of arias and recitatves but single
purposes. MusikEe1ackt." A recitatve. especial
n., the voice OF the singer: a few prolonged notes
to guide him. occasionally soft chords and curl
oUSy enough II one believe in the strict trea tment
OF the organ. arpeggios. as upon a ciavectn. The
StactaI" Vas generally employed IN playing the
nary organ pieces Bach eXacted from his pupils
cboruses and Nth fun ' orchestra the organ had
to be content with the haf-tone tine neither reeds
nor mixtures. said Schroter. organfst in Nord-
hansen: Petr made \ similar recommendation.
Moreover. the aCcompa nment. at least such of II
az was Couirapuntal in nature or consisted Of sue
cesSiYe chords. was played usually upon the p3sitif
tchoirD. whose pipes less powerful than those
OF tho great organ; the bass was executed upon
the latter manual in the manner already indicated.
sometimes also legato. The pedal itself might be
added here, in certain passages il only marked the
accents with stops Of more emphatic quality. when
il desirable 10 emphasize the breadth of the
rhythm. or to avoid confusion when the move
mert too rapid.
There vas considerable Bach talk at tho annual
dinner Of tho American Guild of OrEanists last