Phonograph Monthly Review, Vol. 4, No. 4 (1930-01)

112 The Phonograph Monthly Review January, 1930 advanced publication date in tiinje to prepare special seasonal copy for this issue, but we are confident that no true phonograph enthusiast will need to be reminded that fine recorded music makes the best of all seasonal remembrances—a gift that continues to give pleasure long after the holiday itself is past. On behalf of the Staff and myself, I wish to offer The Phonograph Monthly’s best wishes to all its friends for a happy phonographic Christmas and New Year, and to express again our appreciation of the untiring interest and co- operation of all our subscribers, contributors, and advertisers. The Boston Victor Herbert Festival A Tribute to the Life and Character of the Qreat Composer By STANDISH WILLCOX Editor, Statistics Department, City of Boston T HE City of Boston is to be honored during the approaching holiday season by a Victor Herbert Festival in which his matchless operettas will be presented at the Majestic Theatre, beginning upon Christmas Eve, Decem- ber 24, under the finest musical auspice. The premiere will be a presentation of “Naughty Marietta,” with Miss Ilse Marvenga appearing in the title role, and who both in the United States and Europe has been designated as the “miniature Jeritza,” by reason of her musical genius. Victor Herbert, ’cello virtuoso, conductor, com- poser and delightful companion, has been dead but little more than five years, yet in that time his name and his melodies have become better known to more Americans than has the name or the melodies of any other contemporary composer. Today one can think of no name in the wide field of art and music that is more familiar than that of Victor Herbert. For years there has been no national composer in this country whose fame has approached Victor Herbert. It so happened that the tremendous popularity of the radio began to reach its peak just at the time of this beloved composer’s death. Since then his name and compositions daily have been brought to the delighted notice of people in every nook and corner of the American continent. As a writer of the kind of music that appeals instantly to every heart, tutored or untutored, in the art, Victor Herbert remains unrivalled in this country, and the probabilities are that he will occupy this unique position indefinitely. Now, with Boston preparing to relive its youth by attending the cycle of revivals of Victor Her- bert’s operettas, under the direction of Lee and J. J. Shubert, at the Majestic Theatre, is an aus- picious time to review briefly the career of Am- erica’s most beloved composer. Victor Herbert was born in Dublin, Ireland, February 1, 1859. His grandfather was none other than the illustrious painter, author, poet and composer, Samuel Lover, whose most familiar works to Americans are the stories, “Handy Andy” and “Rory O’More” and the little song classic, “The Low Backed Car.” At an early age, Herbert lost his father and was sent to Germany to study music. Here it was that he became master of the ’cello and wrote several notable compositions for that instrument. To the end he remained a ’cello virtuoso of the first rank and for many years critics maintained that there were none his superior in this respect. In Vienna in 1886, he met and married Therese Foerster, a prima donna, then enjoying the great- est favor in that city. The same year, thanks to their “discovery” by Frank Damrosch, then on a European tour, the newly married couple came to the United States. With characteristic deter- mination, Victor Herbert at once took out natur- alization papers, and thus was the first step taken in making one of the most loved and distinguished citizens, the United States of America has ever welcomed. For several years after this Victor Herbert repeated his European successes in this country by appearing as a ’cello soloist, with the Theodore Thomas and Anton Seidl orchestras, at many im- portant concerts. Presently he took up the con- ductor’s baton, immediately proving himself splendidly equipped as a real leader of the or- chestra,—in personality, ideas, musical scholar-