PRESTO
AMERICAN COMPOSER'S FRIEND
Galli-Curei Favors Songs by Native Geniuses in
Arranging Programs for Concerts.
Mme. Galli-Curci includes the songs by young, un-
known American composers in all her concert pro-
grams. It is a mark of interest appreciated by the
ambitious song writers who some day hope to
achieve the reward of merit. In view of this the
article by Mme. Galli-Curci in a recent number of
the Delineator is particularly interesting.
"I have no trouble in finding good American songs
by your young composers," writes the famous sing-
er. "Of course in making my selections I look for
the work of those most hopeful and talented, sing-
ing their songs mainly from manuscript; afterward
they are published. And believe me, there is very,
very much talent for musical composition in Amer-
ica. The impression made upon me by the .many
American songs that I know and appreciate is that
they have a distinctive national quality; they bear
the stamp of freshness and of that ardent vitality
that are so genuinely American.
"To name a few of those talented young- compo-
sers unknown to their countrymen, and whose songs
I have sung, there is Carl Beecher, who has written
very good, high-class selections; his 'Ayla,' for
instance, I have included in my program at the Hip-
podrome in New York, and a number of his songs
will be published; another unknown one is Murdoch.
His song, 'My True Love Lies Asleep,' 1 have sung
in concert, and his compositions also will be pub-
November 27, 1920.
lished; Samuels has written very good songs in-
deed, and his 'Little Bells of Sevilla" I sing often in
my concerts; yet another young American composer
of high merit, whose songs I sing in concert, is
Julius Chaloff, and there are many others whom 1
might enumerate.
"It means encouragement to those boys to have
me sing their songs, and it brings happiness to me
to sing them. They deserve it, one and all; they
write good music. Everywhere I invite them to
dinner, those young Americans of talent, and urge
them to compose. 'If you will write a good song,'
I promise, 'I will sing it. But if it is not a good
song—well, you know what will happen then.'
"Your well-known composers whose songs I know,
sing, and appreciate are many. To mention but a
few there is La Forge, who has done beautiful
things; there is MacDowell; there is Carpenter,
composer of lovely numbers; there is Rogers, a
great artist, of whom I am a friend and strong ad-
mirer.
"Of your old American songs I can not express
too ardently my admiration, songs like those of
Stephen Foster, whose 'Suwanee River' I love to
sing. They are so genuine and so well done musi-
cally. I accept them with respect, and with relig-
ious feeling. Like all folk-songs, they are sincere
and true. 'Deep River' is one of the most beautiful
melodies that I have ever heard. Unfortunately, it
is written too low, and I dare not touch it. But it
has a warmth and cello-like quality that make me
long to hear it played by Casals.
"Melodies like 'Deep River' and those of Foster
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would be loved anywhere that voices sang them,
even though not a word of the English language
were understood. They rank with the immortal
melodies of any country. There was a time when
some people may have regarded Foster's songs more
as popular than of the highly serious, real value
which they so genuinely possess. That fact may
be as true of some melody now floating about Amer-
ica, and that we feel moved by today. That melody,
too, may live on to be loved through all the years.
"Everywhere I have found that my audiences
liked American songs absolutely, showing their
pleasure by the degree of applause granted and the
encores demanded. Unhesitatingly I would say that
it is the duty of all artists to present American songs
in their concerts."
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