Evening star., 1946-07-07
Old Programs
Show District
Musical Taste
Noted Artists
Kept Washington
| Opera Minded
By Alice Eyersmon

One of the most important rec-
ords of musics progress is the con-
cert program and collections OF
these items is a requirement in liz
braries where music division Is
featured. 1t is also a paSttme in
dulged in by many individuals. At the
time of concert, the program may
not seem worth more than indicat~
ing the numbers and brief history
of them. But as the years pass, and
great musicians are no more, they
gather value both locally and ma
tionally and may be eventually of
such interest as to bring a high
sales price.
Besides the information that may
be gained from them regarding COM
posers and their compositions, inn
portant especially as regards the
newcomers about whom there is lit
tie to be found. programs show the
status OF an artist, often revealing
surprising Incidence In acquiring
repertoire. It will be seen in some
cases that in 20 years of public ap-
pearances, the same programs have
been juggled around with nothing
new added.
Washington Always Musical.
1t has often been said of WASH
ington that it is an unmusical city
and In former years its reputation
in this respect was accepted. Re-
Gently looking over programs that
go back more than half century. We
wondered how such a designation
was arrived at. During the winter
seasons there were orchestra con-
certs by the great symphonic groups
OF the country opera in greater va
riety than is had at present and re-
citals by removed artists. whose
names stand for the finest in art.
Back in 1888, for example, Henry
E. Abbey's Grand italian Opera Co,
gave a performance in which the
celebrated Sofia Scalchi was fea-
tured. In 1887, the National Opera
Co. with Theodore Thomas as direc-
tor presented such works as Meyer
beers The Huguenots" and Gluck's
"Orpheus and Eurydice." A year
later, under Gustav Hinrichs' lead
ership Anton Rubinstein's Nero
Goldmark,s Queen of Sheba" and
Wagner's The Flying Dutchman"
were performed. For a public that
now hears Faust" Carmen"
"Rigoletto" and La Trayiata" to
satiation. it is interesting to know
that these unfamiliar works were
apparently liked in this city some so
years ago.
DamrOsch Here in 1895.
The Milan Grand Italian Opera
Co, with artists of renown in Italy,
was heard in Rossinis "Barbiere di
Siviglia" and the Boston Ideal Opera
Co, had a long season during which
Donizetti's Daughter of the Regi-
ment' was sung. The Damrosch
Opera Co. with Walter Damrosch
at its head, gave series of Wag-
merriam operas in German In 1895 and
the same year Hinrichs' Grand
Opera Co gave performances and
the Grau Co. had Washington in its
! itinerary
The Boston Symphony was visit
ing here in 1884 when it was directed
by Wilhelm Gericke and one of its
important concerts was that con-
/ Quoted by the great Artur Nikisch.
February 7. 1892, with Franz KneiseI
as violin soloist. Henri Rabaud and
Pierre Monteux headed the Boston
group often and the Philadelphia
Orchestra soon began its concerts
here bringing many noted solcists.
The Washington Symphony Or
chestra under Reginald de Koven
was active in 1908 and the George
town Orchestra directed by Josef
Kaspar two years earlier. The Wash
ington Philharmonic orchestra with
Heinrich Hammer as conductor
played its first concert of the season
in the Knickerbocker Theater Octo-
Der 2, 1919.
1t is Of special interest. in view Of
his present reputation. to know that
Proko1eff appeared here in recital
in 1919. The list of noted artists is q
long one, including Jenny Lind,
Christine Nilsson, Maude Powell,
Edouard De Reszke, Emil Sauer.
Cortot, Ysaye. John Mccormack,
Louise Homer, Blanche Marchesj,
Maggie Teyte. Julia CUP. Emma
Thursby. Huberman as boy prod
igy the l0-year-old Josef Hofmann,
Maria Barrientos and host of 9TH
ers. DR.. Hans Kinder appeared in
; several recitals, once with Cortot,
and Richard Strauss gave his fare
we'll recital in America in the Ma
tional Theater April 26, 1904 assist
ed by Nine. Pauline Strauss de Alma
! and Anton Kaspar, violinist.