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THE MUSIC TRADE REVIEW
VINCENT D'INDY ON ART STUDY.
When I remarked that art is not a trade,
far be it from my opinion that inspiration
A RT is not a trade. A school of art can
suffices for everything and that the man
**• not be, should not be a professional
of inspiration needs not the study of com-
school. One must guard well against be-
position or execution. In art there is an
lieving that in order to be a musician it
arduous side to be mastered which is indis-
suffices to play an instrument, even very
pensable when one feels called to an artis-
well, or to be able to write perfectly a
tic career. Every instrumentalist, every
fugue or a song. These are certainly
singer, every composer should before all
parts of musical education, but they do
else have his work under absolute control.
not constitute art; and I go so far as to
But when one has arrived at that point where
say to those who stop at this degree without
the pianist can play the most complicated
seeking true art that such acquirements
concertos without impediment, where the
are dismal and pernicious in so far as they
singer can fly with success through the
are led to believe themselves sufficiently
most tricky vocalises, where the composer
equipped to interpret great works. It is
can write in a highly congruous manner
because of this regrettable equivocation in
the most difficult counterpoints, and even
the 'ever-growing crowd of professionals,
to put forth correct figures, one must be
many of whom are gifted with a certain
very careful not to believe that the educa-
talent, that they are not and never will be
tion is finished and that through having
artists.
surmounted all difficulties one is a con-
During my career I have had the summate artist.
opportunity to observe the effect pro-
It is precisely the contrary, and if one
duced in a concert hall by a beautiful
stops
at that point which is, properly
work, and I have been astounded that
speaking,
but half way, one risks nine
the worthy public is divided into two
times
out
of
ten to remain for life a demi-
classes—that which is susceptible of
savant,
a
mediocrity.
The first studies
emotion in the presence of the master-
are
nothing
more
than
the
equivalent of
piece, having a profound understanding of
the
exercises
for
suppleness
in military
art—this is a very small number—the
exercises
and
can
only
be
classed
as the
other, large in number, are those without
first
degree.
But
where
the
trade
finishes
any science, usually perched in the cheap-
est places who leave themselves simply the art begins. And then the duty of
and sincerely open to impressions. But the teachers will be no longer to exercise the
gross public, that which criticizes the work fingers, the larynx, the writing, but to
without even listening to it, is composed of form the soul, the intelligence, the heart,
but one class of people—those who have so that this tool will be employed in a
healthy and elevated manner and that the
studied theory.
acquired trade may thus contribute to
These will not permit themselves to be the development of musical art.
impressed in the belief that they are
Let us not deceive ourselves; that which
too wise, but they are not wise enough
we
should seek in our works of art is
to judge sanely and they are capable
not
gain, it is not even personal glory,
of neither feeling nor understanding.
an
ephemeral
and empty result. No; we
There are music students as there are
should
aim
higher,
we should look further.
publics and those who care but for a trade
The
true
aim
of
art
is to teach, to elevate
run a good chance to remain useless beings.
gradually
the
soul
of
mankind. I do not
I would even say that they are harmful to
believe
there
is
a
more
beautiful mission
the progress of music. May we be spared
in
the
world
than
that
of
the artist who
from the demi-artist as also the demi-
understands
the
role
which
he
is called upon
savants. It were better for them and for
to
play
in
this
world.
It
is
not
only an ar-
art they had never been born.
tistic education, but a truly spirituelle one
But alas! this class promises to become which the pupils must receive in the sec-
legion, and from the composer Adolphe ond and more important phase of their in-
Adam confessing to his pupils that music struction.
brought him no happiness and that he only
Art in its march through the ages can
composed because he had been taught
be traced to the theories of microcosm.
nothing else, to the celebrated tenor who
Like the world, like the nations, like the
judged the value of a score by the number
civilizations, like man himself, it traver-
of high B flats that it contained, many
ses the successive periods of youth, ma-
usurp the noble name of artist who would
turity, age, but art never dies; it is re-
have been better fitted as employes of a
newed perpetiially, it is not a closed circle
bank, politicians, or travelers for Bordeaux
but a spiral which always rises and always
wines.
progresses.
(Translated from the French.)
LEIPSIC
WALTER HENRY HALL.
T H E Messiah had its annual production
* in Brooklyn under Walter Henry
Hall, who can give more life and vim, and
yet not lose dignity, than any other
conductor in mind at present. Hall is
a man of real importance and musical
worth, and whereas it would not be fair to
Brooklyn to say that he is buried there, he
certainly has not the prominence in Amer-
ica's musical life that he deserves by every
right of capability and knowledge. In the
recent production of the Messiah, he once
again demonstrated the absolute authority
over his singers as well as his intimate
knowledge of the requirements of oratorio.
The solo parts were sung by Mrs. Marie
Zimmerman, Miss Grace Preston, Willis
Bacheller and Herbert Witherspoon, who
took the part without rehearsal on a few
minutes' notice and sang admirably.
The Prix Pinetteof 3,000 francs has been
divided by the French Academie des Beaux-
Arts between Gabriel Faure for " Prome-
thee" and Charpentier for " Louise." The
Prix Chartier of 500 francs, for chamber
music, was given to Alphonse Duvernoy,
whose quartet has been heard in New York
by the Kneisels.
Miss C. L. Huggins is now teaching the
piano at St. Helen's Hall, Portland, Ore.
First American Tour 1901—March and April
PHILHARMONIC
HANS WINDERSTEIN, conductor
ASSISTING ARTIST, J O S E P H
Knabe Piano Used.
I believe it necessary for pupils to fol-
low the same march which art has taken
so that in their periods of study they are
enabled to comprehend the transformation
of music as it passes through the centuries,
and they will come out so much the better
equipped for the modern combat for having
lived as it were in that life and in that art,
for they will have assimilated in regular
order the forms which logically follow one
another through the different epochs of
musical development.
This system should be general and ap-
plies not only to the composer, but to the
singer and to the instrumentalist, because
it is as necessary to be able to sing a litur-
gic monody or to play in the style of Cor-
elli, as it is to the composer to study these
structures. This methodical education
will, moreover, have the advantage of
making the students review all the beauti-
ful old works as also the modern, which
are important, and this will awaken in
them sentiments of love, admiration and
enthusiasm for the high manifestations of
the human mind and will elevate their
souls fortified by this healthy and substan-
tial nourishment to the summit of the
philosophy of art.
VON SLIVINSKI,
ORCHESTRA
THE EMINENT PIANIST.
Concert Direction : MRS. NORMA KNUPFEL 138 Fifth Avenue.