davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

actors in service and will be we'll able to
retire when he wants to at the end Of the
three years his press agent has a allotted
to him. He plays long seasons, always
companies. Joseph Jefferson, who did
business himself or the same meagre scale
during the later years of his career, left
more than half a million.
No woman ever had a greater vogue
financial troubles during the last few years.
Most Of her money disappeared through
her Western ranch and her family. Sic
always supported practically in the West
a small colony OF Poles who lived on her
She earned s2s 900 from. her tour last year
and will keep on acting for several years
to come, so she will probably be able
to retire In comfort. Hortense Rhea.
who had a period Of great popularity here,
measure exhausted by iii Health, but it
was a matter of surprise that out Of her
earnings she had saved 30 little.
1T Ia always a little difficult to tell Just
how actors do spend their money, a man.
-for very few Of them live in luxury, They
may have a house and a valet, but with eS.
Penditures Of this kind they stop. They
rarely keep yachts or horses and few Of them
make the least pretence to keeping up an
'estabiishment. I've often Thought they
Yet with all their earnings they come TO
the end Of their days without a cent.
One way they use up money lie, OF course,
through a certain kind OF ostentation in
take suites In small hotels, have their meals
served upstairs when they are, If possible,
a little bit worse than they are downstair s
ana they give suppers to Inc members Of
their companies and In other ways that
DO not, show but cost a great deal they
let their mOnav ain avav
L know one star who travels now in the
most extra egant way and I suppose she
enjoys It.. She takes a motor, two maids,
2 valet and always has a large suite Of rooms
night. OF course that may be fun but it ia
using up every cent she earns. Yet that
woman has a very modest house in the
country where she spends her summers
and no home at all In New York. She
CANOE in her own home. All the money
Is splashed out In life IN the road.
IL Is the same way with most Of the
managers In this city. They don't seem
to have much fun out q their money. They
the same incomes would. One sees them
around the hotels and chop houses of Broad
way. just as II they were still agents on a
small salary. 1t s true that the! have
begun to live q little differently during
good reason why they should work so hard
to make money from which they have 80
little pleasure. Usually it goes after u
while and they might az well have srenr
II In enjoying themselves as have paid u
out to authors and actors. Go into or"
Of the Fifth avenue restaurants where
you see men OF all kinds enjoying their
money and tell me II you ever saw a man
aser among them. On the other hand
none OF them with q very few exceptions
ever buys his own home and lives with any
degree Of comfort or luxury in it. Yet
"a spite Of the little fun they have out Of it
the money goes"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15
FEW FORTUNES MADE IN ACTING
STAGE STARS WHO LEAVE AS MUCH
AS 500, 900 FEW.

Henry Irvtns's Money Can Largely From
Sale Of Collections Lolita, Sol Smith
Russell and Joseph Murphy Pros.
pered In Real Estate-Mansneld Rich.
The fact that few actors and managers
leave behind them any fortune appears
to be just ~ true in other countries as 1t
is here. A statistician has recently figured
out some interesting details as to the estates
left by distinguished players and managers
in England. Henry Irving left only 500, 900,
and much of that was realized from the
lie Of his pictures and other works Of
art. The fact that Ellen Terry hada benefit
the other day shows how much she has
saved from half a century Of work. Unlike
Sir Henry she never had any share OF losses
to bear.
William Terriss, who was murdered five
years 90, in London, was so at the time
Of his death, and left 500, 900. He had been
in all that period an actor under salary
and had made few II any ventures Of his
own. Dan Leno. who only Is at the time
of his death, got the biggest salary ever
paid to any music hall singer in England,
and Oscar Hammerstein gave him 1900
In real money during his stay at the Olympia.
Yet he left behind him only s54 900.
Wilson Barrett, who had known many
ups and downs in his career, found great
prosperity In 'The Sign Of the Cross"
during the latter years Of his life, but none
OF the plays that he attempted after that
time ever made any money for him. Prob
ably the $50, 900 that he left behind him
came altogether from the royalties that he
received from that play. It has been
acted in this country for six years and lis
to go on tour again
Augustus Harris, who had Covent Gar
den and Drury Lane, died in the early
'4Os, and was 20 much involved financially
that in spite OF all his great enterprises
he left an estate OF only sis, 900. Lady
Martin. who was Helen Faucit, had earned
in her professional career $1ss 900.
The circus man gers seem to be as pros
porous In England as they are here. The
Frederick Hengler left $2ss, 900,
which Is a larger sum han any manager or
actor in England left. but seems smail In
with the $4,000 o left behind
by James Bailey and the great Barnum
Some OF the American fortunes have
out Just es small. 1t was thought
that the late Fanny Davenport was
q r ioh oma She had acted for years
great success and been q great popu-
lar favorite. Yet she left practically moth
Ing. phat was In q measure duo TO tho
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

failure Of several productions made Just
before her death. ~
Henry E.. Abbey died o poor man, al.
though he had handled millions. Maurice
Grau, on the other hand, retired from
business worth 500, 900, part Of which was
made from suooessful speculation. The
rest Of his fortune was earned during the
last ten years Of his managerial career.
Augustin DAILY had been through several
years Of very bad luck lust before his death,
but his last season was profitable, because
-The Great Ruby turned out by a lucky
fiuke to be q great financial success. Yet
he left very little. His books, his contract
for certain musical farces from England
and his interest in Days Theatre In Lon
don turned out to be about all that he pos
sessed. Yet he had been for years In har-
ness and had spent thousands and Thousands
| of dollars.
A. NJ. Palmer was practically a pensioner
OF the bounty Of Charles Frohman when he
Theatre. Al Hayman Ia said to be the
richest marager to-day. Frank Sanger,
who died three years ago, left a fortune Of
$500 900. He left, also, many valuable in
terests in plays, He figured very little,
however, in the affairs Of the theatre, and
ownersh'p- Of certain plays. 'The Sign Of
the Cross wa one OF these Lester WAL
lack died, Of course. penniless.
Lolita Crabtree, who gave 81 .0>O for a
programme at the benefit for the San Fran.
actress in this country, and her fortune
has been estimated at -ums varying from
$500 900 to 81 900 900. Much Of 1t Ia In real
estate. In that way the largest theatrical
fortunes have been mace.
Sol Srnith Russell, who died three years
ago, was the richest actor In the profession
with the exception Of Joseph Murphy.
Russell. who was accepted In every city
In the country but New York. invested bis
earnings in real estate In Minneapolis and
st. Paul. He sold much OF that property
at a great advance and later put HIS money
into Washington real estate with an eouaIly
sucoessful result. He left more than
Joseph Murphy made q fortune out of
and s1s 'f Kept p's e. s messS. some ONE s 81 x. Gov osi.
leagues say he still has the first dollar he
earned In the business. He invested IL
all in real estate In different cities and
to-day has more money thar any Of his
profession.
Maggie Mitchell owns q large block OF real
estate on the upper West Side and has
built several apartment houses there which
represent q very comfortable fortune. She
also owns other parcels scattered through
wife 100000, and half as much more was s
disposed Of by his will.
Daniel Bandmann, when he died last year,
owned q valuable ranch In Wyoming which
he had bought with the money he earned
acting Shakespeare at cheap pricea through
out the small Western towns for several
years. Lawrence Barrett, on the other
hand, left nothing behind him, although
he had spent many years in producing
worthy plays In the most artistic manner.
Edwin Booths fortune was more than half
Q million and would have been much more
had no invested II In the businesslike way
that actors do to-day.
Richard Msnsheld In one Of tho richest
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

national; popular in the noble sense Of an
appeal 10 the ideals and yearnings common
to all national in the Use Of types and SYM
bols conversant and endeared to his country
men by centuries Of tradition and legend.
A happy inclination led him TO turn from
the primitive myths and sagas, whose
grandeur and tragic import Richard Wag-
ner had virtually rediscovered, and to draw
his inspiration from that inexhaustible and
precious fund Of homely folk tales and
poems that German diiigent research and
erudition have rescued from oblivion and
~garnered in the collections of Grimm, Bren-
tano, Vernaleken and Others. Despite the
complaints of aspiring authors the world
and its literature are overrich in themes and
subjects fit for dramatization, but 1t needs
the unerring instinct Of the born playwright
to seize and disentangle the main thread Of
dramatic portent from the pattern OF inter-
woven, non-pertinent detail and circum-
stances.
This unerring instinct Is one part Of Sieg-
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

plenty to interest him in the skilful c~onstruo
ton OF plot and In the very original Ian
guage and, versif1cation Of his texts. The
interspersed stage directions show, we're
further proof necessary, Siegfried's eminent
gift Of INSTALLATION, a quality of foremost
importance to the dramatist.
His music Is, technically considered,
above criticism. In spirit 1t is thoroughly
modern, without, however, pa~rtaking of the
exaggerations and wilful experiments of
the self-styled advance school. In con-
formity with the simple nature Of many
Of his characters and episodes. he has not
feared to write light and %tuneful, but never
trivial, melodies where they are in place,
reserving for the moments Of involved
psychological interest his mastery over all
the intricate and manifold means Of ex-
preston.
OF the authors Of the many musical
dramas that have appeared since Richard
Wagner's death, it may be safely asserted
that Ms son Is the only one who has fully
oomprehended his message, the only one,
at least, who has unoompromlsingly carried
into effect the theories that the great re-
former advocated in his aesthetic essays
and formulated with such awe compelling
genius in his later works. Others have
adopted with avidity such technical details
as the enriched harmony, the new resources
Of Instrumentation, the more sensible
defamation, a greater c~arefulness IN the
choice Of texts; most Of them, indeed, have
been content with bodily Transporting whole
scenes and excerpts from the MASTER works
and slavishly initiating his idiomatio poetical
and musical phrases.
Siegfried, on the other hand, has based
his productions on the broad foundation
Of first principles. Others have been AFRO.
CANT enough to try to At to their preteftious
but insecurity founded and tottering edi-
foes the noble facades and palatiAl orna-
m~entation Of the elder Wagner's' inspired
inventions. Siegfried has anchored firmly
In tho bedrock and b uilt q more modest
but beautifully proportioned and thoroughly
comfortable dwelling house all his own.
His architectural training evidently taught
him what others have failed to learn, the
fundamental Importance Of construction.
An illustration that brings this distinction
into the dearest light Is the fact that prac-
tioally all the claimants to the laurels Of
dramatic composition are mere musicians
who elaborate through the medium of their
art libretti furnished by others. Siegfried
Is his own dramatic author, He IL, in fact,
primarily a dramatist In whom poetry and
music have o common origin and are in
dissolubly welded.
In our days Of overstrung nervous ten
sion and orbid taste for the eccentric and
hysterical. Siegfried Wagner brings us a
priceless gift. the example Of a brave man
striving for a wholesome, unperverted and
noble Il cal.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

with Amalia Materna at the great musical
festival In the Seventh Regiment Armory.
He sang all the Wagner repertoire and was
also famous q Florestdn In "Fidelio," a
part In which he was at his best until recent
years. He is 81 years old nov and promises
Brunswick, studied in Hanover and had ap-
peared in Hamburg before he went to
Vienna.
The festi val at B~ayreuth will begin on
July % with a performance OF the Nibelun-
will be Ellen Gulbranson, who rarely. APP
pears now outside the sacred precincts
Of the .Schauspielhaus, Luise Reuss-Belce
and Johann Elmblad, who are in the
ami class and some who, display their
talents talents, os SIiI AZ T. Larger 81 t5 public s;rI M H.. G snd
will be one Of the Kundrps In "Parsifal."
Katherine Fleischer- Edel, who has been
engaged by Mr.. Co nried for the Metropoli-
tan Opera House mex year will be Sieg-
linde. She will also sing .Brunodene in the
in which Marie Witch sings the heroine
and Alfred Won Barry. one Of the Bayreuth
tenors and formerly an actor at Carlsruhe,
will be Tristan.
Allen Hinckley, the young American hasso,
n msmh at H IL fbs E,s and a few VII yea IT, ago Sor =
In the performances OF the trilogy.. The
new Parsitals are to be Ark Schmedes of
Vienna, Alois Hadwiger Of Graz and Alfred
Won Barry, who Is now at Dresden, and a new
Kundry will be Marie LETTER Burokhardt Of
to be Hans Richter, Felix Motif, Siegfried
Wagner, Michael Balhng and Franz Beidler
OF ~Bayreuth., The last two named are sons
in-law Of Mime. Cosima. Ernst Kraus and
Theodor Bertram will have the burden Of
the Nibelungen Ring on their shoulders.
The nrohoofro atn p,,VpHa~ ZOE - kha Laat
players in Germany n in this particular
the festival performances are said to be
kept up to their former level. The chorus
for -Parsifal' will consist Of ninety voices.
The tickets are as usual sold for every per-
Torrance, and as usual many of them are
in the hands Of spectators.
The young American singers who have
been in Paris with but scant opportunity
to be heard In public organized the other
day a performances at Sarah Bernhardt's
were capable Of. There we're scenes from
a0beron," Romeo ct Juliette,' 'Lakme,'
Aida" "Les Huguenots" and .Orfeo.- The
performance was given under the patron
age OF the American colony In Paris and
their friends nightly. The pupils Of
several well known teachers were not al
lowed to take part. One OF the most sue
cessful Of the singers was Regina d'Arta,
who is to be one OF the dramatic sopranos
Of the Hammerstein company next winter.
She will 60 to Lilli Lehman for coaching
in some OF the heavier dramatic roles before
she comes to this country. Among the
tenors was the youthful M. Rlviere, who
made one appearance at the Metropolitan
Opera House two years ago In Carmen"
with Emma Calv6 and might have made a
SUCCESS II he could have been heard.
Marie Delna, whose career was very short.
returned to the stage the other day 10 sing
her old part In La Vivandiere,h at the
Opera Comique for the benefit OF the fund
to raise q monument to Benjamin GODDARD,
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

fruits Of this double apprenticeship, carried
on as it was in that unique spirit of intensity
and ideality Of purpose that characterize
Payreuth, soon became evident.
When in 1895 Siegfried made his debut
conducting in alienation with Hans Richter
the enormously difficult Ring of the Nibe-
lungen, his command OF the intricate details
and the inspiring breadth Of his conception
proclaimed the born leader who could well
dispense with the years Of practical routine
necessary to the less talented. Similarly
his first opera-we shall not at the moment
attach any distinctive Importance to the
designations, opera and music drama
the @Barenhauter" shows not a trace Of the
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

for one season. He Ia very popular in Ber
lin, and at the performances of the Wagner
operas, which are his speciality, he is in.
v~ariahly compelled to take his share Of the
applause with the singers. Muck vas q
discovery Of Angelo Neumann, who called
him to direct his opera In Prague and Their
put him in charge Of the company Of Ger
man singers which went to Russia In the
'eOs to introduce the N~ibelungen Ring tc
the rather unapprecative Russians, Muck's
genius Is by no meane limited to operate
conducting and every year he conducts q
series OF symphony concerts In Vienna. He
has also travelled as a guest conductor
in Russia, Spain and France, and he will
have a large concert repertoire in which he
has met with success TO draw on when he
comes to Boston.
He never meant to be q conductor, al
though from childhood he was deeply
interested in music. He played as a pianist
at the age Of eleven in his native city OF
Wurzburg, but after that his interest in
the art was rather theoretical than prac.
tical, and he selected his studies at the Uni
versity Of Leipsic with a breadth uncommon
to a professional pianist. He played at a
G~ewsndhouse concert soon after he was
graduated, however, and his SUCCESS then
decided his career. In spite Of his theoreti-
cal training, he commenced at the bottom
Of the ladder to learn the practical side Of
his profession. He became chorus master
in the opera house at Zurich and gradually
rose to his present post.
1t is believed that Arthur Nikisch, in spite
salary, will come here after the conclusion
Of Muck's brief term. Nikisch, who must
have heard how the Philharmonic pays it's
conductors nowadays, demands from Col.
Higginson $40 900 q year for Ave years.
OF this amount SIS 900 Is to be paid to him,
In a bank to the conductors credit. At the
end Of his term here he will in this way
have SIPS 900 to his credit to take back to
Germany. This complicated arrangement
Ia q result OF the extravaganza Of Nikisch,
who Is said to spend as much H. as he earns.
Germany to have only a part Of his salary
paid to him, while the remainder goes to
his family's credit In q bank. II the Boston
Symphony Orchestra Is willing to pay this
sum Arthur Nikisoh will be It's next con-
ductor.
Putnam Griswold, the young American
basso, who sang here with the Savage
Opera Company in @Parsifal," is now a
member of the company at the Royal Opera
House In Berlin and was recently decorated
by the Emperor for his excellent work
during the last season.
Hermann WinklemAnn has at last retired
from the Imperial Opera House in Vienna.
He has been almost voioeless for a decade,
although II used to be regarded as a kind
ness to say that he began poorly, but before
the opera ended was singing as well as his
great reputation demanded. He has been
a member Of the company for twenty-three
years and bad sung for some years before
that time. Wagner selected Winklemann to
be the first Parsi'ai whom the opera was
sung at BayTeuth. Theodore Thomas
brought him ID this country In 1883 10 sing
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15
NOTES OF MUSIC IN EUROPE.
JOACHIM, GARCIA'S SUCCESSOR AS
THE "GRAND OLD MAN."
Before the Public a. Year-Muck to
Return to Berlin for Six Years After
. Year In Boston, ikisch's Demand
for 4 600 q Year for Five Yeara.

Before the Public a. Year-Muck Il
Return to Berlin for Six Years After
. Year In Nikisch's Demand
for S4O,O 200 . Year for Five Years
Since the death Of Manuel Garcia the
title Of the grand old man of music descends
to Joseph Joachim, who last week at Bonn
celebrated his seventy-ffth birthday. He
lives IN Berlin, but was listening to the Bonn
music festival. He has been before the
public for sixty-seven years and still plays
IN Berlin. although persons who hear him
say 1t would be far better for his greatness
II be would retire. Joachim has seen many
Of his most noted rivals rise to fame and
then 60 to their graves while his career
continued without interruption.
he celebrated on May "a Of last year In
London the sixtieth anniversary of his
appearance there as a child performer,
He had even played in London twice before
that date-once at a Drury Lane concert
arranged by Moscheles and again at a con-
cert arranged by Sir Julius Benedict at
which Mendelssohn, Grisi, Lablaohe, Mario
and Thalberg were among the artists. The
little Joseph was then only 10 years old.
As he grew up, Joachim saw Henri VIE
nawski reach his prime and die. vieuxtemps
died a quarter Of a century ago, but he
was an unknown ~struggler when Joachim
made his first appearances, Sarasate, who
b now an old man, is probably the most
famous living v~iolinist next to Joachim, and
he was born long after Joachim had made
Misplace in the world Of music.
Joachim, who had heard the famous vio-
itnists Of half a century, held that Ernst
was superior to all Of them. Most of the
youthful Phenomena who come to this
country nowadays to lose money for their
managers ere highly recommended by
Ssaohim, who has lost much in reputation
from this practice. He Is, of course, anxious
TO be amiable. and II he recommends theee
youngsters highly enough their managers
give a concert and engage him TO appear
with his youthful protege. Most Of his ap.
pearances are now made In that way. al
though he finds a very loyal public when.
ever he Is announced. It IL to those who
hear him for the first time that he seems
to play 20 much out OF une and with 90 little
inspiration that only the satisfaction Of
saying that they hsve heard Joachim play
makes IL worth while to 60 to HIS concerts.
Kari Muck. who Ia coming to the Boston
Symphony Orchestra for only one year,
has been reengaged for the Berlin Opera
House for six years from the close Of his
term with the Boston players. This has
'~reconcile1 his admirers to the loss OF him
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15
Splitting Granite With AIR.
From the Youths Companion.

From the Youths Companion.
The expansive force OF compressed air Il
employed in a very interesting way by q
North Carolina granite company. On q
sloping hillside. composed Of granite which
shows no bed planes. but splits readily In any
direction when started, a three inch bore Is
sunk about eight feet deep. and the bottom
Is enlarged by exploding half a stick OF dyna
mite.
A small charge of powder Is fired In this hole
which starts a horizontal crack or clea wa &c
Charges increasing In size are exploded until
OF 75 or 100 feet, Then a. pipe Is cemented
INTO the bore. and air is forced In, under a
pressure Of from 70 TO 100 pounds. The ex-
il comes out at the surface on the slope OF the
hill. A horizontal sheet OF granite. several
acres In extent may thus be separated.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

more benefoent influence on the budding
mind than the example and preoepts Of his
father, Of his distinguished mother. of his
grandfather Liszt. who was a frequent WISH
tor. Of his tutor, the eminent philologian,
Heinrich Won Stein, and OF all that GALAXY
Of noble minds that ~oongregated In Bay
reuth. metamorphosing the obscure, sleepy,
Franconian village into q spiritual centre
of Germany.
As mentioned above, siegfried's earliest
evident prediction was for architecture;
this to 80 marked q degree that authorities
such ms tho well known architect Seidl
and the eminent portrait painter Lenbach
predicted q brilliant career in that profess
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-07-15

ened destruction of their homes by boldly
capturing King 0Ho. who has come to weak
vengeance on them for harboring the in
suffer OF tho Crowns majesty.
Little need be said Of Siegfried Wagner's
p~oetical diction and musicianship. Both
show absolute naturalness, a perfect fitness
and sensitive adjustment Of the ever vary.
lng requirements Of the scene and Of the
emotions OF his players. Both approach
that ideal; the subordination and disappear.
anoe from Wow OF technical aids In master
works Of art.
At the same time the student will End