MUSICAL COURIER
24
January 5, 1922
“He played the piano with rare discretion.”—Pittsburgh Dispatch.
He displayed magnificent technic and played with ease and forcefulness. That his work was deeply appreciated was evidenced by the hearty applause which each of his numbers received. A leader among young American pianists.”—Canton (Ohio) Daily News.
Sapirstein-Godowsky Wedding
Vanita Godowsky, elder daughter of Leopold Godowsky, the pianist, and Mrs. Godowsky, was married on Saturday, December 31, at the Municipal Marriage Bureau, New York, to David Sapirstein, pianist, Alderman Cruse officiating. Witnesses for the young couple were Berthold Neuer, general manager of the Knabe piano warerooms, and H. O. Osgood, associate editor of the Musical Courier. On New Year’s Day Mr. and Mrs. Sapirstein held an informal reception at their new home on Riverside Drive, at which they were assisted in receiving by the bride’s father, Leopold Godowsky. The younger Godowsky daughter, Dagmar, was married a few months ago to Frank Mayo, the well known actor.
A GENERAL EDUCATION
FOR MUSIC STUDENTS
Should a Music Student TVho Intends to Make Music a Career Either as Artist or Teacher
Have a High School or College Education?
The Musical Courier in connection with its forum for the discussion of a general education for music students, sent out a list of questions to a large number of persons prominent in the world of music. Some of the answers are printed below. The questions were as follows:
QUESTION SHEET.
1.	Are the ages _ mentioned—between thirteen and seventeen, and between seventeen and twenty-one—very essential to the music student who wants to acquire a virtuoso technic, or can a virtuoso technic be acquired after twenty-one, with, of course, a certain amount of youthful training?
2.	Can a child give the time to school work as specified in our letter and still find time for the proper study of music?
SUE HARVARD
Fitziu, Rubinstein and Kochanski at Biltmore Musicale
The fifth Biltmore Friday Morning Musical will be held in the Grand Ballroom of the Hotel Biltmore, Friday Morning, January 6. The artists appearing on this occasion will be: Anna Fitziu, soprano; Arthur Rubinstein, pianist, and Paul Kochanski, violinist.
Sascha Jacobsen at the Stanley
In a recent issue of the Musical Courier it was inadvertently stated that Sascha Jacobinoff filled a two weeks’ engagement at the Stanley in Philadelphia, Pa., whereas these appearances should have been credited to Sascha Jacobsen. Mr. Jacobinoff has been meeting with his usual success in concert both as violinist and conductor.
St. Olaf Choir Begins Eastern Tour
(By Telegram)
St. Olaf Lutheran Choir opening concert Pabst Theater, Milwaukee, great success. Enthusiastic audience. Choir sings magnificently.	(Signed) B. M.
1 and 2. During the years thirteen to seventeen I think general education should come first, with as much musical instruction and practice as the health, talent and interest of the pupil may warrant. From seventeen to twenty-one a broad musical education should be the objective, with special emphasis on the particular branch of the art which the student desires to master; at the same time, some attention may be given to languages, literature and such allied subjects as will broaden the student’s intellectual outlook—and for which he may have the time.
In singing I should say that rarely is it possible for a concert' singer to acquire a mastery of the art before the age of seventeen, or even twenty-one for that matter. Usually it is Apeda	much later.
Certainly maturity of voice as well as of intelligence would seem essential for the proper interpretation of the finer things in vocal literature—given, of course, a reasonable endowment of both voice and intelligence. And _ the proper training of both faculties is not to be gained in a few months or even in a few years. As to the mastery of the mechanics of instrumental performance, that may be another matter.
3.	I think a general education undoubtedly makes a better musician.
4.	The ideal teacher would be one whose intellectual equipment and mastery of both the theory and technic of his particular subject would be of a very high order, presuming of course that he has the gift of imparting his knowledge to others and inspiring them to successful effort. There are great singers and instrumentalists who are very poor teachers. Also there have been excellent teachers who have never been successful performers. Nevertheless,
3.	Will a general education aid a musician to be a better musician?
4.	Should a distinction be made between players and teachers? Should not all music students aspire primarily to be players, not teachers? In other words, should a teacher teach who cannot play? And should these distinctions and considerations make a difference in the course of education to be pursued by students?
LISTENING WITH HER FINGERS
n Z6awnn tke la״?׳• fwr0Z Wi*h his p laying this season as he has in Precious American tours, P v tecently foi Helen Keller, who listened ivith the aid of her sensitive finger tips placed against his violin.
I should say that all students, even those who expect to become teachers, should strive for the best possible technical equipment, which would prove of the greatest possible value, whatever the later professional activity of the student might be.
LEO ORNSTEIN
Apeda
In order to acquire a technical equipment which will enable a student to become a virtuoso, I do not believe that intensive training can be delayed much beyond the ages of thirteen or fourteen. Depending upon the individual requirements of the student this age will vary somewhat. Those possessing natural technical facility and whose school work does not overtax them with undue home preparation can afford to continue a regular course of general study longer than others. As early as possible, however, school work should be lightened.
The importance of school training lies not so much in its -function of imparting knowledge as in the development of the mental faculties of the student. Through the study of musical theory, form, history and the special study of an instrument, the mind can receive as good a training as by means of the ordinary school curriculum. It is infinitely more possible to study general history, Latin, etc., after the age of twenty-one than it is to begin to prepare for concert work after that age. The latter is virtually impossible, whereas with an inclination for learning and culture it is possible to study all one’s life.
As regards those who intend to teach, the situation is quite different. A very good technic and also a very broad knowledge of music literature may be acquired without interfering with school or even college, and the broader the teacher’s experience the better will he be able to understand and direct his pupils. A teacher should be able to play sufficiently well to illustrate any point under discussion during a lesson, but the endurance necessary for concert work is not required of him. It is to gain this endurance that prolonged hours of practice are necessary, and for one expecting to devote his life to teaching time thus spent would be thrown away. The essential quality of a great teacher is the ability to diagnose the particular case presented by each individual pupil. He must be able to recognize deficiencies of mentality or character which are the causes of more special difficulties. The mere routine of technical drill and musical criticism can be obtained from almost any source, but fundamental faults, such as carelessness or laziness of mind, require the inspiration and help of ‘the best teacher to overcome. Broad experience and a study of practical psychology are the most essential elements in the preparation for a teacher’s career. I believe that school and college can give this better than any other source, and therefore I believe in it for those who wish to teach.
Lyell Barber on Tour
Lyell Barber, whose list of dates for the season is already a large one, obtained triumphs in three cities last week, as per the following criticisms:
“Truly a master of the piano.”—Watertown (N. Y.j Standard.
“Too much praise cannot be given to Lyell Barber. His numbers were wonderfully executed and proved so popular with the audience that he was recalled for two encores. Mr. Barber is as great a pianist as has appeared here.”— Watertown (N. Y.) Times.