certs in Brooklyn. As a stimulus pupils will receive one-quarter of the net receipts.

*

Col. Robert Ingersoll may claim some of the credit of making the Rev. Dr. Gunsaulus, of Chicago, the great pulpit orator that he is. The latter heard Ingersoll's great speech at Cincinnati, when James G. Blaine was nominated. Heretofore Dr. Gunsaulus had written out his sermons in full, and closely confined himself to his notes. This wonderful speech, however, opened his eyes to the possibilities of eloquence, and he resolved to dispense with notes. He developed with marvelous rapidity into a great orator.

** One who has studied the subject claims that one's character may be told correctly from the clasped hands. "A woman who is frivolous," he says, will clasp her hands together with the first finger of the right hand between the thumb and the first finger of the left. But the first finger of the right hand lies between the second and the third on the left when constancy prevails. Those who place two fingers of one hand between the thumbs and the fingers of the other are deceitful and not to be trusted."

**

*

A series of concerts on an unusual plan will be given next winter at the new Hotel Astoria, now approaching completion at Thirty fourth St. and Fifth Ave., New York. They are to be called subscription "soirées" and Anton Seidl is to direct them. The large ballroom of the hotel is to be used, and although it accommodates 3,000 people, only 600 will be admitted. Large arm-chairs will be placed on the floors. There will be no assigned seats and no ushers. Twelve concerts are to be given, commencing on the hotel's opening night in November, and held on each alternate Tuesday thereafter. The aim is to furnish entertainments like those in private houses and the concerts are modeled after those given under royal patronage in Germany.

Courtin'," one of Burns's poems, and many of Bryant's, Bayard Taylor's, and Stedman's manuscripts.

** Richard Mansfield, the actor, is writing a Ichild's book called Blown Away."

**

H. Woolson Morse, the composer, died in New York, May 3, aged thirty-nine. He was born at Charlestown, Mass. After graduating from the Mass. Institute of Technology, he went to Paris, intending to become a painter, but gave that idea up and returned to New York, where he devoted himself to music for which he had a natural penchant. "Cinderella at School," a musical comedy produced at Daly's fifteen years ago, was his first piece staged. Mr. Morse's chief work was in the field of light opera, in which he collaborated with J. Cheever Goodwin, the librettist. Among his operas were "The Merry Monarch," produced by Francis Wilson in 1890; The Lion Tamer," Wilson; also given by Mr. "Wang;" "The Rainmaker of Syria;" "Prince Ananias;" "The Devil's Deputy," and "Lost, Strayed, or Stolen."

** It is not often that a member of the House of Representatives makes a speech that is so good that it is printed twice. Yet Marriott Brosius, of Pennsylvania, made a speech on the tariff that the editor of the Congressional Record printed in two issues of his paper.

Several months ago the graduates of Central College, Mo., invited John J. Ingalls, of Kansas, to deliver their commencement address in June, and he accepted. Since, however, he reported the CorbettFitzsimmons prize-fight for several dailies, the curators and faculty of the college have refused to allow him to speak.

The Brooklyn Institute of Arts and Sciences purposes to extend the scope of its usefulness by establishing new centres for its lectures, concerts, readings, etc., in South Brooklyn, Flatbush, and East New York and in the Bedford and the Greenpoint district. A committee including Walter B. Gunnison, Brainerd Kellogg, William C. Peckham, Dwight L. Elmendorf, William C. Lawton, and Garrett P. Serviss, has been appointed to formulate plans.

J

JESSIE F. O'DONNELL.

ESSIE F. O'DONNELL, author and lecturer, died at her home in New York, April 30. She had been critically ill of consumption for two months. Miss O'Donnell was born in 1860 at Lowville, in Northern New York, a place celebrated for being the birthplace of Benjamin F. Taylor, the poet. She was the youngest daughter of the Hon. Charles O'Donnell, a member of the New York Legislature from 1863 to 1869. Her schooling was begun at Lowville Academy and continued at Temple Grove Seminary, Saratoga Springs, from which she graduated with high honors.

Miss O'Donnell always had a taste for literature, but it was not until three or four years after her graduation that she began to use her pen. Her first poems were pub lished in the Boston Transcript. In December, 1887, her first book—“ Heart_Lyrics" appeared. Later books were LovePoems of Three Centuries," Three Centuries of English Love Songs," A Soul from Pudge's Corners," etc., besides contributions to various American periodicals. Many of Miss O'Donnell's poems are particularly adapted to recitation; e. g., "The Sale of a Pig." "The Star-Spangled Banner," The Coal-Digger,' The Bell of

44

Pekin."

The O'Donnell's moved to this city from Lowville about a year ago. Miss O'Donnell was actively interested in Shakespearian matters and was also a member of Sorosis.

OCTAVIA HENSEL.

This noted musical critic and teacher died in Louisville, Ky., May 12. Although she had been in failing health for over a year, her death came unexpectedly to her large circle of friends. She was about sixty years of age, but was so full of energy and mental force that she kept up to the last, practically dying in her chosen life's work, that of a professional musician. About three weeks ago she gave her last vocal lesson, completing her task with much physical suffering.

Mrs. George Fonda-or Octavia Hensel as she is known in the musical world-was the daughter of a New York clergyman and for many years a lady-in-waiting at the Austrian court. She was a world-famed musical critic, having been one of the original staff writers of the Musical Courier, and its correspondent in Vienna and other European centres, and in this country. Her first literary work was with the New York Home Journal to which she dedicated her novel "Imperia," whose story was drawn from Austrian court circles.

Louisville made few friends, but the devotion of these few for her was marked. In speaking of her, a friend thus sums up her characteristics: "She was an artist, with all the longings, struggles, and career of unrest, which is ever the shadow of an artist's soul; and, like all artists, by the world misunderstood, because she lived her nature and was true. Fear to obey the voice of art's conscience Octavia Hensel never knew. To the last she was Octavia Hensel, the artist nature given to her by God. That itself was a religion-a religion from which fell some seeds into the hearts of all who knew her, and through those seeds Octavia Hensel will never die.'

An article by Mrs. Hensel-"The Art of Living"-appeared in the April issue of this magazine.

MAX MARETZEK.

Max Maretzek, the operatic manager, died at his home at Pleasant Plains, S. I., May 14. He was born at Brunn, Moravia, in 1821. He graduated from Vienna University and studied medicine for two years, at the same time taking a course in music and composition under Seyfried. He had breathed a musical atmosphere from his youth, and finally decided to devote himself wholly to its pursuit. The Emperor of Austria became interested in him, as did von Bülow, Wagner, Liszt, Offenbach, and Strauss. In 1843 his first opera, "Hamlet," was produced at Brunn. He then traveled through Germany, France, and England, as an orchestral conductor, and in 1844 settled in London as assistant to Balfe at Her Majesty's Theatre. In 1848 he came to America and became musical director at Fry's Astor Place Opera-House. In 1849 he began his career as an impresario at the same house with a company including most of Fry's artists. "L'Elisir d'Amore," "Il Barbiere," I Puritani," Belisario,' 'Ernani," Otello," Maria di Rohan," "Don Pasquale," and 'Der Freischütz," were given between 1848 and 1850. During the summer of 1850 Maretzek gave opera in Castle Garden, N. Y., producing Louisa Miller" for the first time in America. The Academy of Music was opened in 1854 with Grisi and Mario under Maretzek. In 1855 "Il Trovatore" was produced by him, also for the first time in America, with Brignoli as Manrico. In 1856 Maretzek started an opposition to Niblo's, with Clara Louise Kellogg, Adelaide Phillips, Brignoli, etc. The competition was strong and neither side prospered. Although Maretzek brought out Ronconi, one of the greatest baritones, he was driven to Philadelphia, but in 1860 he was glad to act again as conductor at the Academy. That ended Maretzek's career as an impresario, although he has been before the public frequently as a conductor. He wrote considerable music, including songs and an American opera, "Sleepy Hollow."

64

HOW TO LISTEN TO MUSIC.

BY HENRY EDWARD KREHBIEL. Fourth Edition. New York: Charles Scribner's Sons. Price, $1.25.

WE

E often hear the complaint that the conductors of our symphonic orchestras make their programs too heavy and abstruse, and that music-lovers, instead of being diverted and charmed, are bored by "educational performances, intelligible only to trained musicians. There is truth in the statement; but the conductors are not to blame. The public does not appreciate the fact that listening to music is an art in itself, and that the capacity to enjoy is rare. Music is popular, but too many expect to understand it without training or study. Ignorance and want of preparation are responsible for the indifference to the highest and most sublime musical creations and the demand for popular programs is a confession of indolence and superficiality.

Mr. Krehbiel's book is written for untaught lovers of music who are willing to accept a higher conception of musical entertainment." The treatise is elementary and contains nothing new; but it is invaluable to the untrained and even to the partly trained.

The introduction shows us with what little understanding, not only the average man, but even the novelist, essayist, and journalist, talks about musical subjects. The second chapter deals with the recognition of musical elements, and answers the question: What degree of knowledge is necessary to a listener to enable him to enjoy music? The author points out that music rests on three elements: Melody, harmony, and rhythm. His definitions may be quoted:

"In simple phrase, melody is a wellordered series of tones heard successively; harmony, a well-ordered series heard simultaneously; rhythm, a symmetrical grouping of tonal time-units vitalized by accent. The life-blood of music is melody, and a complete conception of the term embodies within itself the essence of both its companions. A succession of tones without harmonic regulation is not a perfect element in music; neither is a succession of tones which have harmonic regulation but are void of rhythm. The beauty and the expressiveness, especially the emotionality, of a musical composition depend upon the harmonies which either accompany the melody in the form of chords (a group of melodic intervals sounded simultaneously) or are latent in the melody itself (harmonic intervals sounded successively). Melody is harmony analyzed; harmony is melody synthetized.

"The fundamental principle of form is repetition of melodies, which are to music what ideas are to poetry. Melodies themselves are made by repetition of smaller fractions called motives, phrases and periods,

which derive their individuality from their rhythmical or intervallic characteristics. Melodies are not all of the simple kind which the musically illiterate or the musically illtrained recognize as tunes, but they all have The a symmetrical organization. bond of union between the motives of the melody as well as that in poetry illustrates a principle of beauty which is the most important element in musical design after repetition, which is its necessary vehicle. It is because this principle guides the repetition of the tone-groups that together they form a melody that is perfect, satisfying, and reposeful. It is the principle of key-relationship. A harmony is latent in each group, and the sequence of groups is such a sequence as the experience of ages bas demonstrated to be most agreeable to the

ear.

These ideas are abundantly illustrated, and the author turns next to an exposition of the content and kinds of music. He holds, with Spencer and others, that the fundamental elements of vocal music-pitch, quality, and dynamic intensity-are the results of feelings working upon the vocal organs. Hence, feelings are the content of music, and the mission of music is to give expression to feelings. Musicians have developed a language of tones which may ultimately enable men vividly and completely to impress on one another the emotions they experience from moment to moment. there is a difference between "absolute music" and program music. Absolute music foregoes the adventitious help of conventional idioms based on association of ideas, while program music ought to be applied to instrumental compositions which make a frank effort to depict scenes, incidents, or emotional processes to which the composer himself gives the clew either by means of a descriptive title or by a verbal motto. The author makes the following classification of program music:

I.

But

Descriptive pieces which rest on imitation or suggestions of natural sounds. 2. Pieces whose contents are purely musical, but the mood of which is suggested by a poetical title.

3. Pieces in which the influence which determined their form and development is indicated not only by a title, but also by a motto which is relied upon to mark out a train of thought for the listener which will bring his fancy into union with that of the composer. The motto may be verbal or pictorial.

4. Symphonies or other composite works which have a title to indicate their general character, supplemented by explanatory superscriptions for each portion.'

Absolute music is the highest music. Schumann is quoted by the author as saying that while good music is not harmed by a

descriptive title, it is a bad indication if a composition needs one. He adds that musicians seldom find difficulty in understanding one another. They listen for beauty, and if they find it, they look for the causes which have produced it, and in apprehending beauty and recognizing means and cause, they unvolitionally rise to the plane whence a view of the composer's purpose is clear. They do not look for petty suggestions for pictures and for stories, but try to discover the mood and general design.

as ap

Much confusion prevails in regard to the terms "classical" and "romantic plied to music. The author defines and explains their use very clearly. He says:

Classical composers are those of the first rank, who have developed music to the highest pitch of perfection on its formal side and in obedience to generally accepted laws, and who prefer æsthetic beauty, pure and simple, over emotional content, or, at any rate, refuse to sacrifice form to characteristic expression. Romantic composers are those who have sought their ideals in other regions and striven to give expression to them irrespective of the restrictions and limitations of form and the conventions of law-composers with whom, in brief, content outweighs manner. This definition presents classicism as the regulative and conservative principle in the history of the art; and romanticism as the progressive and creative principle. It is easy to see how the notion of contest between them grew up, and the only harm which can come from such a notion will ensue only if we shut our eyes to the fact that it is a contest between two elements whose very opposition stimulates life, and whose union, perfect, peaceful, mutually supplementary, is found in every really great art-work.'

It is in the light of these principles and definitions that the author proceeds to describe the modern orchestra, to teach readers how to listen at a concert, piano-recital, opera and choral performances. These chapters supply a wealth of information to the average lover of music. We can make room only for a few of the more interesting quotable passages. Thus, many utterly fail to appreciate the exact function of a conductor, and the following statement will be read with profit:

"It is true that the greater part of the conductor's work is done at rehearsal, at which he enforces upon his men his wishes concerning the speed of the music, expression, and the balance of tone between the different instruments. But all the injunctions given at rehearsal by word of mouth are reiterated by means of a system of signs and signals during the concert-performance. Time and rhythm are indicated by the movements of the baton,-the former by the speed of the beats, the latter by the direction-the tones upon which the principal stress is to fall being indicated by the downbeat of the baton. The amplitude of the movements also serves to indicate the conductor's wishes concerning dynamic variations, while the left hand is ordinarily used in pantomimic gestures to control individual

players or groups. Glances and a play of facial expression also assist in the guidance of the instrumental body. Every musician is expected to count the rests which occur in his part; but when they are of long duration, it is customary for the conductor to indicate the entrance of an instrument by a glance at the player."

In writing about the opera, which is a mixed art-form and is likely ever to be in a state of flux, subject to the changes of taste in music, the drama, singing, acting, and even politics and morals, the author defends this form of entertainment as reasonable, effective, and legitimate. He believes that the lyric drama can be made as efficient as the Greek tragedy in charming the senses, stimulating the emotions, and persuading the reason. He denies that there has been any decay in singing. Other times, other manners, and the great singers of to-day are simply those who appeal to the taste of to-day. The art of the de Reszkés, Plançon, Melba, Eames, and Nordica, he believes to be superior to that of the favorites of other generations or decades.

It is

In the most instructive chapter on choirs and choral music, the author says that a community's musical culture can be estimated by the number of its chorus singers. In the United States there has been a wonderful development of singing societies, and it is to this fact that the notable growth in our appreciation of high class music is due. The following is worth special emphasis and cordial approval: "No amount of mere hearing and study can compare in influence with participation in musical performance. Music is an art which rests on love. beautiful sound vitalized by feeling, and it can be grasped fully only through man's emotional nature. There is no quicker nor surer way to get to the heart of a composition than by performing it, and since participation in chorus singing is of necessity unselfish and creative of sympathy, there is no better medium of musical culture than membership in a choir. It was because he realized this that Schumann gave the advice to all students of music: Sing diligently in chorus, especially the middle voices, for this will make you musical."

The only satisfactory choirs are the mixed choirs of men and women. They are of comparatively recent origin, and the credit of organizing the first belongs to the United States. The question: What constitutes excellence in a choral performance? the author answers as follows: "A higher degree of harmonious action is exacted of a body of singers than of a body of instrumentalists. In a chorus there are from twelve to 150 voices, or even more, united in each part. This demands the effacement of individuality. Each group in a

choir must strive for homogeneity of voice. quality; each singer must sink the ego in the aggregation, yet employ it in its highest potency so far as the mastery of the technics of singing is concerned. In cultivating precision of attack (i. e., promptness in beginning a tone and leaving it off), purity of intonation (i. e., accuracy or justness of

pitch-singing in time," according to the popular phrase), clearness of enunciation, and careful attention to all the dynamic gradations of tone, from very soft up to very loud, and all shades of expression between, in the development of that gradual augmentation of tone called "crescendo," and the gradual diminution called "diminuendo," the highest order of individual skill is exacted from every chorister; for upon individual perfection in these things depends the collective effect. Sensuous beauty of tone, even in large aggregations, is also dependent, to a great degree, upon careful and proper emission of voice by each individual.

Yet back of all this exercise of individual skill, there must be a spirit of self-sacrifice which can only exist in effective potency if prompted by universal sympathy and love for the art."

The final chapter treats of the relation between "musician, critic, and public." The author shows that professional musicians do not make good critics, while charlatans profess to despise critics and to bow to the judgment of the public. He has much to say about the duties and responsibilities of the critic, and it is all timely and sound. As for the judgment of the public, it is pointed out that they are too often satisfied when they have felt the ticklings of pleasure and lack the refined taste, the sure power of analysis, the intellectual poise which are essential to a correct estimate of the value of a composition or a performance. It is the critic whose business it is to form and to express opinions in the light of scientific principles and the general culture of the age. A critic need not be a composer, but he must be able to feel with and thoroughly understand the composer. He must be neither a sentimentalist nor a pedant, and it is his duty to admire as well as to find fault.

PRACTICAL HINTS ON THE TRAINING OF CHOIR-BOYS. BY G. EDWARD STUBBS, M. A. Eighth and revised edition. London and New York: Novello, Ewer & Co. Price, 75 cents.

This manual on choir-training has served as a guide to the choirmaster's art for a number of years. There has been a rapid increase in the number of boy-choirs, and the standard of training has been raised. The introduction of vested choirs in the American churches has recently attracted a great deal of attention, and there have even been attempts to introduce vested women into church choirs. Under those circumstances, a discussion of the vocal difficulties of choir-training is especially valuable. Of course, the scope of the manual is known to those concerned with the work. While every aspect of the subject is treated in the book, particular stress is laid upon the vocal problems. The chapters on boys' voices, blending of registers, phrasing, and expression are among the most important. An appendix has been added treating of the differences between the voices of boys and those of girls, and other questions. The

author believes that boy-choristers should be taught to copy as closely as possible the cultivated voices of women. Rough vocal delivery of boys is frequently excused, it being assumed that it is "natural" and inevitable, but as a matter of fact it is owing to imperfect training. According to the author, it is a mistake to suppose that the best choirs are those in which women sing. The most celebrated choirs of England and of Russia are composed exclusively of men and boys. The boy voice is plastic and yields readily to treatment. The question of vocal training of boys is, therefore, allimportant.

MUSIC STUDY IN GERMANY. FROM THE HOME CORRESPONDENCE OF AMY FAY. EDITED BY MRS. FAY PIERCE. Sixteenth Edition. New York: The Macmillan Co. Price, $1.25.

The letters published in this volume were not originally intended for publication, and have the freshness, charm, and spontaneity of frank and enthusiastic correspondence. The popularity of the book has been very great, and the new edition will be welcome. The first part, after interesting preliminary descriptions of Germany and German ways, acquaints the reader with Tausig, his conAfter servatory, professors and methods. Tausig comes Kullak, and we are given an insight into the differences between the two masters. Liszt is next and finally Deppe. To be sure, each new teacher is described as the best the writer had, and she is too ready to unlearn things and change her entire method; but the courage, artistic earnestness, and intelligence displayed throughout can not fail to disarm criticism. Thousands go abroad every year to study music, and this vivid record of impressions, difficulties, struggles, and achievements will interest and entertain them. To some extent her statements made in the early letters must be qualified in view of recent American progress in music. We have our own great teachers, and the need for European training is no longer imperative. In fact, the writer herself declared, at the end of her work in Germany, that she would advise no American girl to follow her example, and attempt to be turned by European. teachers from an amateur into an artist. Apart from the technical side of the letters, the gossip about such masters as Liszt, Tausig, and others is fascinating.

CHUMLEY: I hear one of your freshmen was pretty badly injured the other day. How was it? Hankins: Why, it was in the elocution and oratory class. He has such a heavy voice that he strained his back in trying to raise it.

-A FRENCH paper tells of a dramatic instructor who had as a pupil a girl who was pretty, but woefully thin. Thinness is so fatal on the stageexcept where there is the highest genius, as in the case of the great actress of whose admirers it is said that they prefer grace before meat-that he consulted a physician about it. The physician recommended belladonna.

"Why?" asked the dramatic instructor. "Because," was the reply, “beladonna has the property of dilating the pupil."