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Dr. Pachmann returns to America and plays in Chicago in November.

The Conductorship of the Boston Symphony Orchestra is still unsettled.

Gustav Heinrichs is giving various Eastern cities good opera at popular prices.

Materna has renewed her artistic triumphs in her recent reappearance in New York.

The Michigan Music Teachers’ Association is announced for June 28th, 29th, and 30th, at Adrian.

Mr. Arthur Friedsheim is winning encomiums for his artistic piano playing with the Boston Festival Orchestra.

Michael H. Cross, of Philadelphia, has recently published a trio for piano, violin, and cello. The work has been well received.

Dr. Antonin Dvorak has spoken at length upon negro melodies. He considers them the true foundation for an American school of music.

The Keynote, started by Frederick Archer, ten years ago, has now been purchased by E. Lyman Bill, and will be presented in an enlarged and improved dress in July.

Dr. A. C. Mackenzie’s new oratorio, “Bethlehem,” is in the printer’s hands. It is to be given in Chicago September 4th, with Mrs. Nordica as soprano and Mr. Ben. Davis, tenor

The Spectatorium, originated by Steele Mackaye, which proposed unusual attractions, musical and otherwise, has sunk under the financial strain. It has cost $800,000 so far, and now goes into the hands of a receiver.

The Philadelphia Symphony Society was organized in the spring of 1892, under the directorship of W. W. Gilchrist. It is proposed to give a series of concerts during the coming season. The public rehearsal has already been given.

The fifth annual meeting of the N. Y. S. M. T. Association was held June 27th, 28th, and 29th, at Rochester, N. Y. It was a brilliant gathering of the New York State musicians and presented fine programmes, literary and musical.

Mrs. H. H. A. Beach, composer of a jubilate for the Columbian celebration, is authority for the statement that between 1615 and 1885, women composed 153 musical works, including 55 serious operas, six cantatas, and 53 comic operas.

Music at the World’s Fair has been successful from an artistic standpoint and has been planned upon a prodigious scale. There have been too many controversies and a great deal of criticism from various quarters, and while mistakes have doubtless been made, yet, as the London Musical Times has said, there is no question that at the World’s Fair Music has its first commensurate hearing. The various orchestral, choral, as well as solo works are of the highest order, and the various organizations which take part are the leaders in musical life. The charge of a dollar for admission to the concerts of classical music appears to be a failure, the admissions being very few. Damrosch, with his New York Symphony Orchestra, played to only about 50 people, and vacant seats are the rule. The coming of the European celebrities will undoubtedly do much to attract, and it will be a rare opportunity to see and hear these eminent musicians. The following is the programme for July, with other items which are to follow:—

July 7th, Friday; July 8th, Saturday, and July 10th, Monday.—Concerts by New York Liederkranz; conductor, Heinrich Zollner; Music Hall.

July 11th, Tuesday.—Concert by Cleveland Vocal Society; conductor, Alfred Arthur; Music Hall.

July 12th, Wednesday, to July 14th, Friday.—Festival by second section of representative choral societies of the Western States. Three concerts in Festival Hall, massed chorus of 1500, orchestra of 200, organ, and eminent soloists. Programme: July 13th, “Utrecht Jubilate,” Handel; “Saint Paul,” first part, Mendelssohn. July 13th, “A Stronghold Sure,” Bach; selections, Wagner. July 14th, “Judas Maccabeus;” selections, Handel; “Requiem Mass,” selections, Berlioz.

July 15th Saturday—Concert by Junger Maennerchor, Philadelphia; Music Hall.

July 20th, Thursday.—Festival by American Union of Swedish Societies, Festival Hall.

July 27th, Thursday, and July 28th, Friday.—Festival by United Scandinavian Societies; Festival Hall.

Following the Festival in July of the second section of representative Western choral societies, there will be given in Music Hall symphony concerts, including the Ninth of Beethoven, and in Festival Hall Wagner concerts, conducted by Hans Richter. In September, M. Camille Saint-Saens, of Paris, and Dr. A. C. Mackenzie of London, will be the guests of the Exposition. Concerts under the direction of Dr. Mackenzie, will be given during a period of two weeks from Monday, September 11th. The programmes will include a first performance of his new oratorio, “Bethlehem.” Soloists already engaged for this event are Mme. Nordica, soprano, and Mr. Ben Davies, tenor. Concerts under the direction of M. Saint-Saens will continue during three weeks from Monday, September 25th. The programmes will include choral and orchestra works. M. Saint-Saens will also take part in chamber music concerts and will give organ recitals.

The above list represents that portion of the special musical demonstrations for which dates are absolutely

fixed. Regular musical features of the entire Exposition period include semi-weekly orchestral concerts in Music Hall, daily popular orchestral concerts in Festival Hall, and organ recitals.

FOREIGN.

Mascagni has made his debut as an author in a story of his life, entitled “Dark Days.”

Schubert’s 92d Psalm was sung in Hebrew, under the direction of George Henschell, in London, on June 23.

Hauslick asserts that Nicolai’s “Merry Wives” will detract from the success of Verdi’s “Falstaf” in Germany.

Thirty-three compositions have been sent in competition for the Beethoven prize to be awarded on his birthday, December 12th.

Jacques Blumenthal, the well-known song writer, states in a recent interview that he wrote an album of twenty songs in twenty days.

A society called “Concerts of the Modern School” has been formed in Paris, the design of which is to produce annually 30 new scores of French or foreign composers.

It is shown by a London musical directory that nearly 4500 persons and firms earn their living by the trade or profession of music, and 5500 more do so outside of London.

Charles Santley, the English baritone, whose interesting volume of reminiscences was recently reviewed in The Etude, has gone to the Cape of Good Hope in search of health.

At a recent performance of Bach’s “St. Matthew Passion” the chorals were sung by the audience. The effect is said to have been overwhelming. It were well could such be done in America.

Lectures upon Wagner and his music are plentiful, among the latest being those of M. Edmund Von Hagen in Berlin on “Wagner’s Philosophy and its Importance for the Æsthetic Form of Poetry.”

A Beethoven Festival was held at Bonn in May at which the house in which Beethoven was born was consecrated to uses as a Museum of Beethoven relics, etc. It was an important and artistic event.

The seventieth Netherrhenish Music Festival at Dusseldorf was an occasion of unusual musical interest, both as regards artists, performance and works given. The “Damnation of Faust,” Beethoven’s Consecration of the Home, Schumann’s Festival Overture on the Rhine Song, with final chorus, Op. 23, as well as other great works were finely given.

In a recent report, Mr. Geo. Pepper, the U.S. Consul at Milan, Italy, gives some interesting and pertinent information in regard to music study in Italy. He, after having studied the matter closely, says the main difficulty to be encountered is the dishonesty of the teachers, who will not give a true verdict as to the pupil’s ability, for fear of losing the money. In all his experience he only knows of one instance where the student was told his voice did not warrant the expense of cultivation. It costs more to live and take lessons than is anticipated, and questions of etiquette cost much persecution and trouble. Only five per cent. of the entire number ever attain success.

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