Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
T H E 7V^USIC TRKDE
sible about music are, to say the least, com- hours are given to others which should be
mendable, and everything proves a growing devoted to practising for the great perfection
interest in music, its study, and a dissemina- that the public and the critics demand. They
tion of its influence. If one has the deter- cannot hope to attain the same results as the
mination to become familiar with music, no artist who does nothing but prepare for the
matter how little money one may have at his public, for it must not be forgotten that the
disposal, there are always remarkable oppor- artists engaged in concert work do not ac-
tunities in New York. Not only does the cept more than, perhaps, two or three pupils.
Board of Education give a series of ten lec- The question then arises very insistently whe-
tures upon musical topics, but it engages ther they must be judged by the same stand-
the very best musical lecturers before the ard. Common justice would make a negative
public. These lectures are absolutely free reply.
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and are offered to the people who desire to
From this stand we must take the recital
HP HE passing of Frederic Archer brings avail themselves of the benefits to be de-
us face to face with a realization of the rived. At the Y. M. C. A. rooms, 52 East of S. M. Fabian, which occurred last week
awful annihilation that death means-—to Twenty-third street, Thomas Surette is fin- at Mendelssohn Hall. Mr. Fabian gives a
bury that deep knowledge that could have ishing his course on Songs and Dances of very large portion of his time to teaching, in
been of such benefit to those struggling along the different nations, and Dr. Henry G. Han- which work he is known as eminently suc-
the path, not knowing yet thirsting for chett is beginning his lectures, which are al- cessful. The program was interesting and
knowledge. He knew, and all that knowl- ways interesting, instructive and valuable difficult. The breadth of many of his num-
edge lies six feet under the earth. People from every side. In the churches the musical bers would require the strength of an artist
care too little during the life of a man whose services present the best works, classical and who devotes his entire time to nothing else
advice and information would be beyond modern, and, needless to state, they are given except preparation for the public, and since
by the best talent available, as all the choirs Mr. Fabian's teaching makes this impossible,
price, beyond value.
Frederic Archer was a great organist, but are composed of New York's choicest sing- the limitations must be attributed to that
greater than that he had an immeasurable ers. Anyone who is interested in the orato- cause. The attractive points of his playing
font of knowledge on topics which make rios can become perfectly familiar with them were numerous and well-defined. His technic
is clear and clean-cut. In all that required
great people greater. Those who came into by attending these services.
intimate contact with his life knew, but those
Another opportunity to hear music is given delicacy and grace he was at his best. His
who were farther removed had no opportu- the people by many of the music houses legato was well preserved and some of his
nity, because he was not before the public that have begun to use free recitals as a interpretations were intelligent. The large
in any other capacity than as organist.
means of advertising, and it is certain that audience gave every evidence of appreciation
Frederic Archer had great power with the whereas they do not present the great for- and enjoyment.
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pen, yet when, since his literary venture, eign artists, music is treated in such a way
Now we hear that Emma pouted because
have we been privileged to read his great as to be a pleasure, a benefit and an instruc- the applause that she received was not suffi-
thoughts ? The day is iconoclastic. We have tion to anyone who takes it this way. When cient to gratify that yawning abyss which
only a few men left who by virtue of years, good music is dispensed freely we may hope never can be filled. If all the adjectives
in addition to brilliancy of mind could be for some influence that will counteract the that ever were created, and all the applause
of vast undying service to the art of music. abominable cheap, trashy stuff which is al- of the combined countries were rolled into
Yet their messages are scorned, while spread ways within reach of those who cannot af- one great heap, still the prima donna would
for our delight or otherwise, are enormous ford high-priced concerts.
feel herself sadly aggrieved that the language
pages filled with scandals, foot ball, horse
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is so pale and weak that it cannot lay ade-
races and trifling talk concerning actors and
Point of view is something which we quate tribute at her shrine. Stuff and non-
actresses, most of which is nothing but cre- should never lose sight of, and perhaps in sense ! If these people could shake them-
ations of the press agent. There are scores musical circles this matter is overlooked more selves together long enough to know what
of magazines, but they cater to the "peo- than any other.
people with common sense think of them it
ple," and they will not even do the people
To have one standard is to do an injustice might do them some good.
the credit of believing that they would be to very many clever people. It would be un-
It may be that Europe will stand that
happy to hear the opinion of great men on just to many scholarly musicians to gauge nonsense, as it will stand a great deal else,
such a distorted subject as music through them by the measurement of the few great but America—good, common-sense, busy,
the magazine columns, which, after all, are artists, and equally unjust to the artists to matter-of-fact America—won't stand that
the best disseminators of education. No— admit many who are not in any degree to sort of thing for a minute. A prima donna
Frederic Archer may die and Ben Woolf be regarded from the same standpoint. may be pardoned if she goes into hysterics
may die, and all the balance of the musical Those who come like Rosenthal, Paderewski, over a draught, or if she murders a rival,
lights may be extinguished, and never a word Hofmann, Harold Bauer, are artists whose but to refuse to sing because she did not get
remain behind them as a guiding light to lives are given to public performance. They enough applause! That is too much. Poor
. those who struggle in the dark and drop by have, or should have, nothing else on their Mr. Grau, it would seem as though the occu-
the wayside for lack of encouragement and minds; their time need be occupied with pation of guardian of a mad-house were
advice from those who know, and "those nothing except the practice which is abso- child's play along side of his vocation. He
who know" live for themselves because they lutely necessary for the great perfection of probably thought he had breathing time when
never have the opportunity to tell the world the art of which they are expositors of the our $2,500 John remained at home, but alas!
it was not so to be.
what they know. Ben Woolf was known as highest type. Why should we pardon tech-
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critic; in fact, he acted in that capacity, but nical slips, carelessness, moods, humors in
Homer A. Norris, the talented Boston
if the paper had given him editorial space Paderewski? Does he not come to us as composer, has just completed a score for
instead of news space, he could have given exemplification of the greatest proficiency three solo voices, the inspiration and text
his great self, his great mind, his great help that piano-playing offers? But Paderewski for which he is indebted to no less important
than dear old Walt Whitman's "Leaves
to the students and the art of music. But is human, and is not always responsible for work
of Grass." Mr. Norris has called it An
moods,
tenses,
etc.
His
temperament
is
not
his work is dead with him, as is that of
Evocation for a Voice, soprano, a Voice,
Frederic Archer. Even if they left manu- always the same—-in short, he is not a ma- tenor, and Walt Whitman, baritone. He
scripts priceless in value, they would be re- chine that cannot "vary as long as the mech- has given Walt Whitman utter freedom in
form, tonality, harmonic and melodic se-
garded as "unavailable for our readers." O anism is in good condition.
quence, as was absolutely necessary to one
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Tempora, O Mores!
There is another class of pianists composed who felt close enough to Whitman's thought
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to build him into music. Mr. Norris has writ-
The efforts that are being made to give of those who understand thoroughly the sub- ten all of the music, representing him on a
everybody a chance to learn as much as pos- ject in hand, but they are also teachers, and scale of whole steps. It is not easy and it