Classic Mode

Music Trade Review

Issue: 1900 Vol. 31 N. 18

Page 5 Text:

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
RAGTIME AND REFINEMENT.
C R E D E R I C STEVENSON, of the Los
Angeles Herald, is responsible for
this:
" A high school bud writes me thus: (i)
' Why are you always railing at rag-time ?
(2) What is the matter with it? (3) Isn't
it good in its place? (4) Isn't it better than
fugues ? (5) Isn't it just as difficult to
write? (6) Don't some people make lots of
money by it? (7) Wouldn't you like to
make lots of money? (8) Can you write
rag-time? (9) If so, why don't you? (10)
If not, why do you rail at other people do-
ing that which is beyond you ? (11) What
is rag-time, anyway? Our leading class
composer says it is syncopation, and that
syncopation is classical; and he ought to
know, because he has had some music pub-
lished.'
"To answer these questions at their de-
served length would take too much time
and too much space. But, as queries of
this kind are perfectly legitimate, I am
most pleased to give at least concise re-
plies.
"(1) Because it is at once the most catch-
ing and the most demoralizing enemy of
music and musical progress. (2) Every-
thing. It has not a single good feature to
recommend it. (3) It has no place except
in vaudeville. (4) No. (5) No. (6)
Undoubtedly. Other people make lots of
money in gambling and betting, in re-
sorts, in swindling, in spurious ad-
vertising, in bogus goods, and in var-
ious other illegitimate ways. (7) Hon-
estly, yes. (8) Possibly. (9) Purely a mat-
ter of pride, of conscience, if you will.
(10) The critic is not necessarily a doer.
He judges from the standard of high
ideals, not from the measure of low
achievement, (n) Rag-time is syncopa-
tion in a fit, the St. Vitus dance of synco-
pation. It is to syncopation what a chro-
mo is to a Rembrandt, what the phono-
graph is to the human voice, what Dresser
is to Dvorak."
That Stevenson is perfectly justified in
the stand he takes can not be questioned,
at the same time there is no reason to be-
lieve that rag-time is more pernicious than
the cheap sentimental ballad. Everything
has its time and its place and there is time
and place for everything except the vulgar
obscene stuff that is issued in darkey dia-
lect, and the sentimental song the words
of which are usually taken from happen-
ings recorded in the Police Gazette.
Rag-time seems to have emanated from
the "coon-song" and if Fay Temple-
ton's quaint little songs, " I Want You
My Honey" and "My Onliest One"
are fair types of these, the most mu-
sicianly cannot take exception to them
for they are dainty and pretty, and they fit
into the particular place for which they
were created.
One need not look so far as rag-time to
find music which is detrimental to the ad-
vance of the art. Teachers are careless
with what they give children and thereby
create a depraved taste, leaning either
towards the loud, flashy, coarse stuff, or
the sickly, sentimental trash, neither of
which could possibly be called music. But
there is no use in railing at the publisher
for publishing, nor at the composer for
writing; the blame rests wholly with
the teachers and those who have the
moulding of the young, and here one
cannot be too severe, for more lies at
the door of the teacher than is at first ap-
parent. The carelessness in this direction
is more dangerous and more menacing to
the advance of music than all the rag-time
that ever has been or ever will be pub-
lished. Dime novels have no attraction for
college bred men and women, nor for
young boys and girls of culture and refine-
ment; they do not even know of the pub-
lication of such matter; it forms no part of
their lives. So it would be with the lower
order of music, if the instruction of the
young were in the proper hands. There
is nothing to be accomplished with the
masses after they are men and women; in
child-life only is the open sesame to suc-
cess, to a higher musical atmosphere, to a
broader plane, and serious thought should
be given to this subject by all who desire
to see music come into its own.
riUSiC AND PATRIOTISM.
T H E Philharmonic Society of New York,
seems to have incensed Riter Fitz-
gerald of the Philadelphia Item very much,
because it is not patriotic. It is not gen-
erally understood that patriotism is one of
the requirements of an orchestra. In fact,
just how far patriotism would be advan-
tageous is in itself a question. Art is the
first consideration, and it is well that it is
so, for that gives additional importance to
the appearance of an American artist or
composer upon the programs of this body
of musicians.
Nobody doubts that there are some
meritorious artists and compositions that
are never heard from, and this class is not
exclusively American, indeed all nationali-
ties belong to it. Attribute the cause to
fate, to personality, to anything that you
will, for some inexplicable reason some of
minor ability are on top, and some that are
truly artistic are down, and never will be
any where else. MacDowell has been pre-
sented on Philharmonic programs, and
Huss has been presented before now.
country would be in a more receptive con"
dition, and there would also be a greater
quantity of good healthy compositions
which by their merit would compel atten-
tion.
How far the remedy for these conditions
lies in the hands of the musicians them-
selves might be estimated from a knowl-
edge that the number is very large, and
if they joined forces in such a manner as
to compel attention they might become a
political force and thereby gain the ear of
the government. When a man has a vote
he has something which makes him at
least worthy of consideration and until
such a time as this is used to its best ad-
vantage music in the schools and in the
country will simply be a matter of happen.
jt
THE HALL OF FAHE !
A ND so we are to have a hall dedicated
to the Immortals of America. So
far thirty names have been selected to
grace the tablets and these names repre-
sent statesmen, scientists, soldiers, jurists,
educators, philanthropists, inventors, theo-
logians, poets and painters. Is it possible
that not one American has done enough
for music to earn recognition? To be
sure America has no Bach or Beethoven,
no Wagner. Germany has, but other coun-
tries have not, and in proportion to the
age of America there has been work
beyond estimate in the cause of musi-
cal art. America has no clearly de-
Lned individual school, but music is,
as the country is, a great composite
of every country, of every nationality.
Those men who sat in judgment may be
very well informed upon America and its
history in the broadest sense, but of the
growth and struggles of music they prob-
ably know nothing.
It would be no easy matter to trace fac-
tors that have done everything for music
in this country, for there has been much
work done and by many whose very names
are already forgotten, ungrateful as that
may seem. Much has been accomplished
in a quiet way. Who can think of music
in America without giving a thought to
Lowell Mason, or to Theodore Thomas, or
Evidently there must be merit beyond to Leopold Damrosch? And what a tre-
and far beyond the average for the fact mendous factor artistic piano making has
that they are Americans would absolutely been in the development of the art, to say
nothing of those whose talents have been
not figure in the matter at all.
Why should art pay a tribute to the nurtured and fostered by those at the head
country when the country pays no tribute of these concerns. To what and to whom
to art? Yes, if America contributed sup- music in America owes its being would
port to national conservatories, if opera make a long and interesting history, and it
and orchestra were maintained by govern- would seem as though in the name of jus-
ment or state as they should be, then natu- tice these names should be perpetuated.
rally enough it might be expected of the ** DROF. SKILTON'S rendition of
I
'Hark, Hark, the Lark,'and 'The
orchestra to bring out American., works Erl King,'by Schubert and Liszt, was pre-
because they were American, but then the ceded by a brief explanation of how the
whole aspect would be different, and the pieces came to be written. He said that

Page 6 Text:

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
the two composers were at dinner, and
Schubert contributed the words and the
music was composed by Liszt."
Everybody is trying to be analytical and
to explain why this came to be so, or how
that happened to be something else; but
poor Prof. Skilton is too fatally twisted,
and the pity is that the reporter could not
straighten him out before such an excru-
ciatingly funny statement reached day-
light. However, there are just as ludicrous
things given out every day. People talk
too much nowadays; at least, the wrong
people talk about musical subjects.
This fad of musical lectures is a very
good one to be sure, but the lecturer should
at least have a little understanding of mu-
sical matters, and those who are permitted
to print musical news ought to be present-
ed with a month's board and lodging at the
Boston Public Library, where the Allen
Brown's collection might help them to be-
come full-fledged critics.
| T is utterly useless at the beginning of
the season, to state who is and who is
not coming to the country. After steady
denials that Calve is to come, rumor now
has it that she will be in her place when
Grau's curtain goes up in New York.
Edward Lloyd announces that he will
come, then that he will not, ad infinitum.
When the time comes we shall see what we
shall see.
BISPHA/VS DATES.
DISPHAM joins the Grau Opera Coni-
L
' pany in San Francisco November 12,
but before this time the array of concert
engagements that he is filling is simply
astonishing. The following may prove
his popularity. He opened his season
October 20, at Hanford College, Pa. ; Oct.
22, Aurora; Oct. 23, Pittsburg; Oct. 24,
Hanford College; Oct. 25, Brooklyn In-
stitute; Oct. 26, Lenox, Mass.; Oct. 30,
Paterson, N. J. ; Oct. 31, Springfield,
Mass.; Nov. 1, Newark; Nov. 2, Hanford;
Nov. 7, Colorado Springs; Nov. 8, Denver.
VICTOR HERBERT IN BOSTON.
A N unusual interest has been manifested
^ * in the Pittsburg orchestra under its
leader, Victor Herbert, in Boston, where
they played a week's engagement at the
Exposition. Large numbers flocked to the
music hall, and much applause was show-
ered upon the players and their popular
conductor. It was by no means insignifi-
cant for Herbert to come into Boston with
his orchestra and to receive such treatment
from the press and the public, as Boston
is nothing if not critical.
LEOPOLD WINKLER.
A NUMBER of concerts are planned by
**• this excellent pianist for this season,
the first to be given at Knabe Hall very
shortly.
}
I
A PLAIN TALK TO VOCAL STUDENTS.
BY THE
EDITOR.
of thunder might be construed to mean
ARTICLE II.
]Y| OW let us look at the voice in its sec- battle, so that music without language is
*• ^ ond capacity as a manner of expres- very indefinite. Please understand, I do
sion. Before coming directly into this not mean absolute music, or music where-
subject there are two details which belong in the musical form and the structure are
as much to tone production as they do to of scientific interest to the musician.
diction, style and interpretation which rep-
Let me say a word here upon the subject
resent the elements of the voice as an ex- of absolute music and program music.
pression. Breathing is what I would speak Absolute music is that which is built upon
of, and correct breathing is as necessary musical form, without anything in mind
for correct tone production as it is for long except music, with reference to music
phrases, so that too much attention cannot only. The sonata, the symphony, the con-
be bestowed upon this, as it is the sine qua certo, are absolute music, built accord-
non of singing.
ing to theoretical and grammatical laws.
The other point is the speaking voice This music represents to connoisseurs a
and diction. The same care should be ex- theme, the working out, embellishments,
ercised with the tone placing of the voice modulations and innumerable things all
whether giving orders to the servants or distinct from any and everything in life
hailing a street car as in the practice of the except the art of music.
most intricate song. A perfectly placed
On the other hand, program music is
speaking voice, one that vibrates, radi- written to express in music some phase of
ates and carries, is over half the battle of life. The subjects selected are usually well-
tone placing won, and a careful pronun- known historical or mythological ones;
ciation, enunciation and understanding sometimes entire poems are used and some-
of modulations (not in a musical sense) is times only a word. A good example of
almost the balance. Therefore, look to this sort of writing is Saint Sacns " Danse
your speaking voice and place it just as Macabre," through which every note means
you are taught to place it in song, for out- something, because you know that the
side of its being a requisite of requisites writer was trying to express the Dance of
for vocal purposes, it has a value all its Death; you know that he meant to portray
own.
the rattle of the bones and the crowing of
The speaking voice, like the mind, is the cock at morn. Of his symphonic poem,
only given to man, the highest type of an- '' Rouet d'Omphale," you need a little more
imal life, and there is a strong connection of the story, and then you can follow every
between the voice and the mind—the measure and fit every sound to the word
higher the mental cultivation the greater it means to convey. When you see the title
is the degree of beauty of the speaking Overture to King Lear or to Hamlet, you
need no further explanation; your mind
voice.
You may not realize it, but about the will supply the well-known story.
first thing which strikes a man upon meet-
Suppose just one word—say Romance—
ing a woman is her voice, and attrac- be the name of the selection, it is enough;
tion or repulsion occurs just as the voice you need not know what was the compos-
brings forth. It was not my intention to er's romance; you probably have romances
dwell so long upon the speaking voice, but enough of your own and you will fit the
the subject has a great bearing in the case. music to your thought. Now this is under-
To the student of character there is, standing music through suggestion—it is
perhaps, no book so open as the voice. even, in a slightly remote sense, music as
Watch it—for it means much, too much understood by spoken language — but it
for detail at the present moment, so we is certainly not a language by itself.
will take up the voice as a method of ex- Take that most noted, almost notorious
pression. As a matter of course, music is piece of descriptive music, Death and
independent of words, that is music in its Apotheosis of Richard Strauss, enter the
fullest sense. I do not know that pure and concert room without knowing what the
simple melody would be any more enjoy- orchestra is playing, do you believe for a
able on an instrument than it would be to moment that you will hear the gasps, the
hear the voice unaccompanied and without death-rattle and all that which is spoken
words sing for any length of time. Not- of as disgusting realism unless you know
withstanding the claim is made that music what the composition is? Never.
is a language of itself, it only takes one
It is the union of language, which is
moment to prove this untrue, as language something definite, and music, which is
is definite and states something, while something ideal, that gives you tone pic-
music represents a state of thought often tures.
impossible to describe in language, and it
The more elevated your thought and
is very far from being self-explanatory, no the more susceptible you are to eleva-
matter how vivid it may be.
tion, the more noble will the music seem
Take for instance, a soft, slow, minor to you, the more will it emulate the desire
passage. Ask ten people what this means for the good and pure in life. It is only by
to portray—the first will say melancholy, the union of words to music by co-relation
the next tenderness, the next sympathy, or suggestion that could ever in any sense
the next peace, the next love, the next degrade music pure and simple,
(To be continued.)
grief, etc-, etc, Even the representation

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