Music Trade Review

Issue: 1901 Vol. 32 N. 9

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
were being exploited. If the same man
carries out his good example he will resign
from the congregation. It was always sup-
posed that that class of songs was fit (and not
even) for some of our music halls, but that
those songs should find their way into the
church entertainment is more than the
most degenerate might have expected. A
rag-time concert was the delectable pro-
gram spread for that congregation, whose
appetite had been fed on such spicy bits
that everything had become tame. Prob-
ably these songs, with their unvarnished
texts, will be presented with dramatic
action next. And yet it is barely a cen-
tury since Oratorio was condemned as
sacrilegious and low, pernicious to the
morals and detrimental to the cause of the
church. Verily, we are traveling at a fast
and furious pace.
torted and abused than it is to hear the
King's own flattened out, and served in
such a fashion that you cannot recognize
it. And, comble de malhcur, if you pro-
nounce with any degree of correctness,
you are dubbed "affected," "presuming,"
"exaggerated," "ridiculous." It is not
always easy to "Dare to do right."
Mme. Szumowska, Miss Olive Mead, Josef
Adamowski, T. Adamowski, Heinrich
Schuecker, Wilhelm Heinrich, the Horn
Quartet of the Boston Symphony Orches-
tra, George Proctor, John Sturgis Codman,
Ernst Perabo, Eliot Hubbard, Alvin
Schroeder, are the notable artists who will
appear.
Verdi's Requiem was sung by the Han-
del and Haydn Society, Emil Mollenhauer,
conductor, in Symphony Hall, Sunday
evening, Feb. 24. The soloists were Mrs.
Kileski-Bradbury, Mme. Schumann-Heink,
Evan Williams and Gwillym Miles.
DAGANINI is reported to have said "In
Italy man is born to sing, in France
to warble, in Germany to thunder, and in
England to pay." What would he have
jt
said had he known conditions in America,
HUQO riANSFELDT.
paying, as it does, more for music than
A VISITOR in New York last week was
any other country. To this fact is due a ** Hugo Mansfeldt, one of America's
great many of the disagreeable features of most accomplished pianists and teachers,
music in America. Nothing retards the and also the author of a well-known book
of technic. Mansfeldt was on his way to
growth of music in this country so much
Europe, where he will remain for some
as the high prices asked for all musical time. Several pupils will avail themselves
entertainments. The price of music places of his instruction while he is there. A
'"THERE is no word in the English lan_ it practically out of the range of students notable history is that of little Alma Sten-
guage that is capable of striking such and no one will deny that no lessons are cel, who accomplished such remarkable
terror to the heart of him who knows how of greater value than those learned in the things under Mansfeldt that it was decided
to take her to Europe, more for the atmos-
much it does not mean as the six letters concert room.
phere than for anything else.
which spell the word " method." Indeed,
Of course Leschetitzky was the objective
IN BOSTON.
a person who knows the use and abuse of ""THE Adamowski quartet—T. Adamow- point. After the usual recommendation
this word may well be thankful if he has * ski, first violin; Arnold Moldauer, that she study with an under teacher and
no young person of marked musical ability second violin; Max Zach, viola; Josef the rest of that by-play for which Leschet-
that must be educated. It is no longer a Adamowski, 'cello; assisted by Mme itzky is so well known, her mother, who
Szumowska, pianist; gave a concert in the accompanied her, saw the folly of putting
matter of teacher, but of " method." No-
new Chickering Hall, Huntington avenue. the child under instruction so very in-
body talks about results; only about The program included a quartet of Chad- ferior to that which had brought about
"method"; and if a singer be as rank as wick. Carlo Buonamici, the talented young such remarkable results. She decided to
the weeds of the field, if he can talk "meth- son of Buonamici, the great Italian teacher, end the farce when one of the most noted
of Vienna's impresarios heard of the child,
od " he has nothing to fear; he will gain is to give a recital soon at Steinert Hall.
and after hearing her, put her into a con-
Mme.
Juliet
Corden
Pond,
Gertrude
his following of admirers who will languish
May Stein and Evan Williams were soloists cert with no less a personage than Kubelik,
in the sunshine of his "method."
for the last Cecilia concert. The numbers whose success as violinist is said to be the
T^HE talks on French diction by the given under B. J. Lang are always note- most exciting one since that of Paderewski.
worthy. The selections were "Hiawatha's The success with which Alma Stencel met
Yersin sisters are truly interesting Wedding Feast," part first of the Trilogy, exceeded the wildest hopes of her most
and very much to the point, but it must by Coleridge-Taylor for tenor solo, chorus expectant friends. She has since played
occur to one, even if he be not a very deep and orchestra; the Missa Brevis, by Pales- with orchestra and there is no denying the
thinker, that it would be equally as val- trina, for chorus a cappella; the Rhapsodie, fact that her instruction has been of the
uable to learn to pronounce the English op. 53, by Brahms, for alto solo, male very best. Just what course she will pur-
language correctly, and no one can deny chorus and orchestra, and the cantata, sue will not be determined until Mansfeldt
"The Swan and the Skylark," by Goring reaches theie, and it is probable that he
that even if the words are intelligible they Thomas, for solo voices and orchestra, and will locate in one of the large centers as
are rarely well pronounced. The English the Verdi " Te Deum," for double chorus, pianist and teacher.
language, as does every other, depends organ and orchestra.
A delightful musical event, which is an-
upon the locality for the accent, and woe
Mr. Henderson's lecture on Tschaikow-
ticipated
with
much
interest
by
many,
is
sky
at Daly's Theatre on the afternoon of
be unto him who pronounces according to
the
subscription
series
of
four
chamber
con-
February
14 was illustrated by three songs,
the most correct and accepted rules if this
certs, to be given during the lenten season sung by Miss Lillian Carllsmith and
fall upon the ear of him who is accustomed
in the new Chickering Hall. These con- Tschaikowsky's Trio in E flat, played by
to the patois of his own surrounding. No, certs are all to occur on Wednesday even- Walter Damrosch, pianoforte ; David
Miles. Yersin, it is positively not any more ings. The first concert occurred Feb. 27, Mannes, violin, and Mr. Altschuler, violon-
shocking to hear the French language dis- the others March 6 and 13 and April 10. cello.
LEIPSIC
First American Tour 1901—March and April
PHILHARMONIC
HANS WINDERSTEIN, conductor
ASSISTINQ ARTIST, J O S E P H
Knabe Piano Used.
ORCHESTRA
VON SLIV1NSKI, THE EMINENT PIANIST.
Concert Direction : MRS. NORM A KNUPFEL 138 Fifth Avenue.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
MRS. PARKER'S SCIENCE OF IIUSIC.
TN a recent number of The Review a re-
* markable instance was put on record of
two very juvenile pupils of Mrs. Ankie
Green Parker, through whose treatment of
young minds most notable results have
been achieved. It is pre-supposed that the
children who study with her are talented,
if
REVILO LOCKE.
but one glance around will reveal hundreds
of talented children who accomplish things
which astonish people who are unable to
see how superficial and harmful these
accomplishments are. There is no dan-
ger so great as the pitfall of talent
which lays a child open to flattery
agreeable to the child was not to be
thought of in the past. But we are in a
new era, and one of the most remarkable
advances has been the treatment of the
child mind. Mrs. Parker is one of the
most earnest, as well as most successful,
in this field. Her work she pleases to call
the Science of Music, and it is not un-
wisely named, for it strikes at the bone,
sinew and soul. Whereas, talent in a child
is always desirable, it must not be sup-
posed that fine results are only to be ob-
tained from children of remarkable brill-
iancy. On the contrary, this science is so
directly aimed at the intellect that it opens
the beauties of music in a manner which
could be expected from nothing else.
Two pupils who show the remarkable
benefits of Mrs. Parker's science are, Harry
Linwood Pearce and Revilo Locke, of New
Hampshire, who is in Florida on account
of ill health. His mother was so delighted
with the manner in which Mrs. Parker
taught the children, that she decided to
have Revilo study with her, while he had
the opportunity of being in Gainsville.
He has taken piano and violin, and of
course, the science for the one year. He
plays nicely and is much interested in
composition. An example of his work
which has come under our notice, is very
creditable. He expects to make music
his life work and the ground work is such
that he may build anything upon it.
Harry Linwood Pearce is also studying pi-
ano and violin to which he is also applying
the science. His specialty is the violin.
He has gone through several of the prin-
cipal violin methods, plays several of the
Beethoven sonatas, reads anything at sight
with proper tempo and dynamics. He
plays the bravura and the most delicate
runs with equal taste and handles the bow
with dexterity. He is ardently devoted to
the study of music and he is very fond of
athletic sports. He will, however, leave
the most exciting game to work at his mu-
sic in which he shows the active, energetic,
ardent boy, alive in all pursuits.
MME. SEMBRICH'S ADVICE TO SINGERS.
ME. SEMBRICH, upon being asked
what advice she had to offer stu-
dents who wished to become really great,
said: "Let a girl who wants to learn to
sing first make of herself a good musician.
Let her learn some musical instrument
thoroughly. All women cannot take up
the violin, although for singers that is the
best instrument. The girl who begins to
study singing by acquiring a complete
musical education will have made the best
preparation possible."
"With me," she continued, "it was a
lucky thing that I learned the violin, for
it helped me more than anything else
could have done, I have also noticed that
singers who play the violin are more like-
ly to sing in tune than others. But if the
violin is out of the question a girl who
would sing had better learn the piano.
"Then comes the difficult question of
selecting the teacher who can do the most
important thing correctly; that is, place
the voice. Once that is done as much de-
M
HARRY LINWOOD PEARCE.
from the ignorant, of pleasing the parents
with something which is untrue, and of
acquiring enough to amuse itself without
much work. Therefore, it will readily be
seen that talent goes for absolutely noth-
ing, unless it be under the most rigid and
watchful care, and that this should be
pends on the pupil as on the teacher. The
teacher can do a great deal, but not every-
thing. It is when the pupil has begun to
learn singing that her talents as a musician
will come to her assistance. If she is a
good pianist or a good violinist her work
of preparation will not only be easier, but
all her practice will be more effective. As
for the roles she learns everybody knows
what my opinions on that subject are.
This is the advice that I always give—
learn the old repertoire.
"It is such music as 'La Sonnambula,'
'Lucia,' 'Linda de Chamounix' and 'II
Barbiere' that trains one to sing well.
Learn that thoroughly and let the modern
composers alone for a while. If there
was anything needed to prove the truth
of my theory one would only have to look
at Mme. Patti. She is over fifty now, and
yet she sings remarkably, and she has her
voice left still. Of what other woman can
the same thing be said? Look, too, at
Lilli Lehmann, who began her career as
a singer of the Italian music and is to-day
another great example of what that train-
ing will do. It was not until she had
learned thoroughly the Italian repertoire
that she began to sing Wagner. She and
Mme. Patti are two of the last great
singers.
"No young ones are coming up to
take their places, and the reason is that
the old music which trained the voices
best is no longer taught. Even in Italy
it is not taught to the singer. They im-
mediately begin to sing Leoncavallo or
Mascagni, which is just as bad for
their undeveloped voices as Wagner's
music.
"After a girl has learned to sing the
next important thing for her to learn is
what she should sing. Certain voices, as
so many singers seem to forget, are suited
only to certain kinds of music. One may
have a voice which would last for a long
time in singing the music suited to it. But
if it is used in singing Wagner or the dra-
matic music of the younger composers it
cannot endure. There is only a certain
quantity of it, and if it be used up in two
or three years by singing music to which
it is not suited only one thing can happen.
But singers seem to forget that with a
voice suited to only certain kinds of music
it is impossible to succeed in entirely dif-
ferent fields. That is a thing which the
singer must learn for herself."
Mme. Sembrich practices now for one
hour every day, but not continuously.
Fifteen minutes is the longest stretch
which she attempts. In dieting for the
sake of her voice she avoids only sour
things.
In order not to get stout she eats
no sweets and very little flour, but her
abstinence in this respect is for her figure
and not for her voice. When singing in
concert or opera she occasionally sips a
glass of water. She drinks a glass of
champagne or claret with her dinner and
never takes coffee. American ice-water
and iced champagnes she regards with a
terror almost equal to her deep-seated
aversion to steam heat.

Download Page 6: PDF File | Image

Download Page 7 PDF File | Image

Future scanning projects are planned by the International Arcade Museum Library (IAML).

Pro Tip: You can flip pages on the issue easily by using the left and right arrow keys on your keyboard.