Music Trade Review

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THE MUSIC TRADE REVIEW
great teacher. His creed was that it is not
how long one practices, but how. And he
taught us how. He taught us how to util-
ize our brains as well as our fingers. It is
the brains which are chiefly taxed.. Play-
ing must become merely mechanical if such
is not the case, and in these inventive days
mechanism can accomplish this kind of
playing much better than the human fin-
gers. I never practice now longer than
four hours a day, and I never play formal
exercises or studies. Beethoven's concer-
tos and Hummel's works, not to mention
the compositions of other masters, contain
'exercises' infinitely more valuable than
any which have ever been written with the
express purpose of attaining digital agility.
After once acquiring technical perfection
in the playing of a composition, I throw
my whole mind and soul into the reading
in order to infuse feeling and expression
into every note. Consequently I have to be
enthusiastic when I practice, or give it up.
" N o ; I do not study every effect and
every expression. That would be the
merely mechanical again. Oftener than
not when I am playing before an audience
the music rouses something within me,
and I find myself giving entirely new in-
terpretations to passages."
*
\ / E N I C E papers say that the poet d'An-
* hunzio has agreed to write the text
for a trilogy to be composed by Mascagni,
and that Michetti has promised to design
the scenes and costumes. The subject is
to be the adventures of Orlando as de-
scribed by Ariosto and Bojardo.
*
T may be asked why a higher life, in-
volving larger sacrifices, is demanded
of the artist than, say, of the business man.
Nobody would put this question in relation
to the religious teacher, yet the difference
between the vocation of an artist and that
of a man consecrated to spiritual things is
one of degree only, not of essence. Both
have to do with the ideal—with the first
principles of beauty and truth; the work
of both is sacred, in that each has to inter-
pret to his fellows the Divine teaching,
either of the written Word or as it shines
on the larger page of creation; and each
resembles the other in this point also—
namely, that any falling short of pure and
simple devotion to duty inevitably involves
a disqualification. Neither can be "world-
ly" without dishonor to a commission which
entrusts to him the ministry of things above
and beyond mere sordid interests. Not
often, it is to be feared, do those who devote
themselves to music as a profession think
upon the obligations they assume. The
art is more generally a chosen pathway to
fame and fortune, or the gratification of
vanity by applause and adulation, and
though such ends may be gained only by a
fortunate few, none the less do they exer-
cise a pernicious influence upon the many.
By these remarks it is not intended to
undervalue, much less despise, the material
rewards which come to gifted sons of art.
But to be honorable they must not have
been gained by violence done to high and
pure ideals, Fortunate the man to
they come in the straight path of duty; he
is a traitor who turns aside to pick them
up. The sincere musician will not so turn
aside, but press forward to that truer prize
—a consciousness of talents faithfully used
and of a mission well discharged. This
may involve poverty—Beethoven was poor
—but not the poverty of which humanity
need be ashamed.
TT is a most curious situation that in a
*• large city like New York, with its big
army of music lovers, there is no perma-
nent orchestra. The project of establish-
ing a permanent orchestra, which collapsed
I
WATKIN MILLS.
on the death of Anton Seidl, ought to be
revived and a man like Dr. Muck or Hans
Richter secured for it. The critic of the
Evening Post says very properly in this
connection: "Unless New York gets a
first-class conductor soon, music will go to
the dogs. This is by far the most important
musical question now before the public.
We ought to have not the best we can get
for the moment, but the best in the world.
If Muck cannot be secured, Otto Lohse
would be the best man to tempt. He is
not only an excellent musician, but an
emotional and inspiring conductor."
*
AURICE GRAU, the operatic man-
ager, has been made a Knight of the
Legion of Honor in recognition of his work
on behalf of French art. The cross was
conferred upon M. Grau by a special desire
of M. Delcasse, the Minister of Foreign
Affairs, and being the first instance of the
distinction being conferred upon a foreign
impresario, and in vi§w of hjs thirty years'
M
service, gives eminent satisfaction in artistic
circles here.
So far as the stage is concerned, Mr.
Grau has done more to familiarize
Americans with French artists than any
other manager. During his career nearly
all the great French actors and singers
who have visited this country have been
under his management. He began with
Aimee in 1872, and since then Capoul,
Paola, Angele, Bernhardt, Coquelin, Jane
Hading, Mounet-Sully, as well as the great
singers of the present day, have come to
this country under his direction.
Honors are falling upon Mr. Grau thick
and fast, and he is making
money as well. He has
received official recog-
nition from Queen Vic-
toria such as never before
has b e e n given to a
manager of opera. He
has dined at Windsor, has
received a n autograph
photograph of the Queen
and has had conferred
upon him an order of
merit.
\ I / A T K I N MILLS, the
v
* English
basso,
whose portrait appears in
this issue, is considered
one of the best oratorio
singers ever heard in this
country.
He comes to
Canada and the United
States this season for a
short tour early in Novem-
ber, returning to England
in January. Mr. Mills has
sung at all the great festi-
vals in England as well as
innumerable important
concerts. His appearance
in this country last season
was the occasion for many
eulogistic compliments
from leading critics anent
his versatility and splen-
did vocalism.
*
'"TO those musically inclined among at-
* tendants at the opening of the National
Export Exposition on Sept. 14 the principal
features of the ceremonies will be most at-
tractive. The musical features, which have
been and are now being arranged by the
management of the exposition, will be
most elaborate and in every way worthy of
the importance of the occasion, which in
its bearing upon business and commercial
phases of the day will be second only in
importance to the great Centennial Exposi-
tion of 1876.
When President McKinley appears on
the stage to conduct the opening exercises
there will be a chorus choir of 600. voices,
which, with the United States Marine Band
of Washington, will render a most brilliant
musical programme. This immense choir
is being rapidly organized under most
favorable auspices. Selected from the
various church choirs and musical organ-
izations of the city, it will be under the