with the old handle: or some acuter person, in order to enhance the value of a better instrument which has suffered this loss, has deprived the cheap Stradivari of its head to grace an instrument to which it communicates a greater value. The loss of the head does not affect the tone of the fiddle, but it detracts greatly from its appearance and commercial value. But this loss of the head is not the only cause of cheapness in Stradivaris. It will often be found that they are too thin in the wood, or have been so damaged in the belly or back that the most skilful repairer cannot revive their tone, though he may restore their solidity and appearance. It should be remembered that although lateral fractures (in the direction of the grain) do not greatly diminish the tone and value of the instrument, transverse fractures (across the grain) in the belly damage it incurably. Respectable dealers are always cognisant of the condition of the instruments which they sell, and the best advice that can be given to an intending purchaser is (1) to purchase of no one but a dealer of high reputation, and (2) not to purchase a cheap instrument.[1]
STRAKOSCH, Maurice and Max, brothers well known in the United States for a quarter of a century as entrepreneurs of operatic and concert ventures. Operatic enterprises in America have generally been undertaken by managers who have carried their troupes through the country, making sojourns in the leading cities of from one to four weeks, occasionally longer, accordingly as the patronage warranted.
Maurice Strakosch, the elder of the twain, organised, in 1855, a concert-troupe, including Mme. Teresa Parodi, Signors Tiberini and Marini, vocalists, and M. Paul Jullien, violinist, with himself as musical director. The vocalists of the troupe afterwards appeared in opera at the Academy of Music, New York. Subsequent enterprises in which Maurice was interested were as follows:—
1856, concert-troupe Sigismund Thalberg, Mmes. Parodi, Amalia Strakosch (wife of Maurice, née Patti), Edward Mollenhauer, violinist. Bernhard Ullmann, Thalberg's business manager, was a partner in this enterprise, as well as in that of
1857, Italian opera—Mmes. de la Grange, d'Orme, Strakosch, d'Angri, Vestvali, Frezzolini, Sigs. Labocetta, Macaferri, Gassier, Carl Formes. Maurice then took Frezzolini to Havana and New Orleans, on an operatic tournée.
1858, Italian opera—Mmes. Paradi, di Wilhorst, Strakosch; Sigs. Brignoli, Squires, Amodio, Barili being the other members of the company, and Jacob Grau a business partner.
1859, Italian opera—Mmes. Colson, Gazzanigga, Albertini, Strakosch, Adelina Patti (her first appearance), Natali, Sigs. Brignoli, Bouvarde, Stigelli, Amodio, Ferri, Barili, Junca, Susini. Ullmann was again a partner. Patti's extraordinary success saved the season, and she was taken to Havana in the following year, and subsequently to Europe, by Maurice.
On Maurice's departure for Europe, Max, who had, during the previous seasons, acted as business agent for his brother, became manager. His enterprises and principal artists have been as hereafter set forth, Italian opera being understood in each instance, except as otherwise indicated—namely,
1861—Mmes. Hinkley, d'Angri, Sigs. Brignoli, Susini, Mancusi. Jacob Grau was a partner in this venture.
1862–1863, concerts—Gottschalk, pianist; Carlotta Patti, Mlle. Cordier, Sig. Brignoli, vocalists; Carlo Patti, violinist. Carlotta and Carlo were sister and brother, respectively, of Adelina.
In 1864 Max went to Europe with Sig. Brignoli (for whom, with Maurice's assistance, an engagement was procured at Les Italiens, Paris), and returned with Wehli, pianist, and Mlle. de Kattow, violoncellist.
1865—Mmes. Ghioni, Cannissa, Strakosch; Sigs. Errani, Macaferri, Mancusi, Morra, Susini, Graff. Sig. Franceso Rosa, director.
1866—Mme. Parepa, Sig. Brignoli.
1867—Mme. de la Grange, Sig. Brignoli.
1868,—Italian opera and concerts, in conjunction with Max Maretzek; Miss Clara Louise Kellogg, whom Strakosch had brought back from Europe, being in the troupe.
1869, concerts—Carlotta Patti being the leading attraction, and during the season making a brilliant triumph as the Queen of Night in 'The Magic Flute.'
1870, concerts—Mlle. Christine Nilsson (first appearance in the United States), Miss Annie Louise Cary, Sigs. Brignoli, Verger, M. Vieuxtemps, the distinguished violinist.
1871—Mlles. Nilsson, Duval, Miss Gary, Sigs. Brignoli, Barre, Capoul, Jamet; Max Maretzek, director. Thomas's 'Mignon' was produced with Nilsson in the title-role.
1872, concerts—Carlotta Patti, Sig. Mario.
1873—Mlle. Nilsson, Torriani, Maresi; Miss Cary; Sigs. Campanini, Capoul, Maurel, del Puente, Nannetti, Scolara. Sig. Muzio, conductor. The troupe was subsequently strengthened by the addition of Mlles. Pauline Lucca and di Murska. Verdi's 'Aïda' was a leading feature in the season's business.
1874—Mlles. Albani, Heilbron, Donadio, Maresi, Potentini; Miss Cary; Sigs. Carpi, Benfratelli, de Bassini, del Puente, Tagliapietra, Fiorini. Sig. Muzio, conductor. Wagner's 'Lohengrin,' Marchetti's 'Ruy Blas,' and Verdi's 'Requiem Mass' were brought out. The company was strong and the repertory was carefully selected, but the venture entailed heavy losses on the management.
1875, opera and concert—Mme. Tietjens, Mme. Arabella Goddard, Miles, Beaumont, Carreno (whose reputation as a pianist was already great, and who now made her début as a vocalist); Sigs. Brignoli, Reina, Orlandini, Tagliapietra, Gottschalk (brother of the pianist), Mr. Tom Karl. Max Maretzek, Gotthold Carlberg, conductors.
- ↑ The writer desires to acknowledge the assistance he has derived In preparing the above article, from the members of the firm of W. B. Hill & Sons, and from Mr. George Hart, both of Wardour Street.
