March 2, 1922
A GENERAL EDUCATION
FOR MUSIC STUDENTS
Should a Music Student Who 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 persras prominent in the world of music. Some of the answers are printed below. The questions were as follows:
QUESTION SHEET.
2 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 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?
3. Will a general education aid a musician to be a better musi-cian ?	.
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 And should these distinctions and considerations make a difference in the course of education to be pursued by students?
LEANDRO CAMPANARI
1 As soon as a child shows a pronounced musical inclination, it would be advisable, even at the age of six, to put him’ under a careful training and educate him to be a listener to only the very best in art. With the right foundation during the tender age, I do not believe that the greatest part of a “virtuoso” technic is acquired after the age of
twenty-one.	.	,	.,
2.	The child will find the time to practice if he has the
real love for it.	...	,	.,
3.	A general education is absolutely a necessity for the
success of a true artist. .	,	^	... ...
4.	A virtuoso player and virtuoso teacher are two distinct talents Of course there are special cases when both come together, but it should not make any difference m the course of education to be pursued by1 students.
Hackett Engaged for “Stabat Mater”
Arthur Hackett has been engaged as tenor soloist for the performance of Dvorak’s “Stabat Mater” to be given at Boston, March 12, by the Handel and Haydn Society. On the following evening Mr. Hackett will give a recital at Westerly, R. I.
Musieale Given at Scudder School
An interesting musical was given recently by pupils of the Scudder School of Girls on West Seventy-second street. In addition to the selections given by the students, there were solos by Winfield Abell, Robert Doellner (a pupil of Auer) and Helena Sipe (a pupil of Stojowski).
Gabrilowitsch Soloist with Orchestra
After appearing in recital at Chicago, March 12, Ossip Gabrilowitsch will journey to New York, where, on March 14, he will be soloist at the concert to be given at Carnegie Hall by the Philadelphia Orchestra, Leopold Stokowski conductor.
Dilling Heard in Washington
On February 16, Mildred Dilling, the harpist, appeared at a concert at the White House, and the following day, she played at a private musieale at the home of Mrs. Leahy in the same city.
Calve with Cincinnati Orchestra
Emma Calve will be the assisting artist at the concert to be given at Buffalo, March 7, by the Cincinnati Symphony orchestra, Eugen Ysaye, conducting.
Hutcheson Booked for Buffalo
Ernest Hutcheson will open his March recital engagements with an appearance at Buffalo on the fourth.
Lindgren Recovering from Influenza
Lydia Lindgren is recovering from a severe attack of in-fhienza.
MUSICAL COURIER
price paid by the management is said to be the highest ever obtained by any two artists in Australia. Rosa Raisa and Rimini will not only give joint song recitals, but will also appear in costume recitals, singing operatic arias.
Vera Curtis a Busy Artist
Vera Curtis, soprano, formerly of the Metropolitan Opera, has been very active during the past fortnight filling engagements from the Atlantic seaboard to the uppermost point in Michigan, Sault Ste. Marie. On January 29 she gave , a recital under the auspices of the Y. M. C. A. in the Municipal Auditorium, Springfield, Mass., to an audience of over 3,000, when she was received with much enthusiasm and obliged to sing many extras. On the two succeeding days she was soloist with the Cleveland Orchestra, Nikolai Soko-loff, conductor, in two of the cities visited on its Eastern tour. Lancaster, Pa., and Shamokin, Pa. From Shamokin she went direct to Sault Ste. Marie, where, assisted by Gordon Camp-
YERA CURTIS, soprano.
© Photo by Mishkin
bell, pianist, she gave a recital under the auspices of the women’s auxiliary of the Anchor Mission. Florence Hmkle had been engaged for this event, but was prevented by illness from appearing. It is evident that the substitution caused no disappointment, for the critic of the Evening News began his review of the concert by saying: “Had Gluck, Farrar, Garrison or Galli-Curci sung in this city last evening, it is doubtful if the audience which filled nearly 1,000 seats at the High School Auditorium would have been more delighted than at the unusually brilliant concert given by Vera Curtis, than whom Sault Ste. Marie has heard none more pleasing in several decades.” The applause was such that Miss Curtis had to repeat four of her songs and in all gave nine encores.
On February 5 Miss Curtis was soloist with Le Cercle Gounod, Rodolphe Godreau conductor. She sang the solo part in Schubert’s “Omnipotence” and two groups of songs and again won the complete approval of the large audience.
Stanley Back from Transcontinental Tour
Helen Stanley, who has just returned from a transcontinental tour, will give a recital at Orange, N. J., March 3. On March 12 she will be the soprano soloist at the performance of Dvorak’s ‘‘Stabat Mater” to be given by the Handel and Haydn Society, of Boston.
May Mukle Sails for England
On February 18, May Mukle, the English cellist, after the completion of her recent successful American concert tour which took her from coast to coast and as far as Hawaii, sailed on the S._ S. Albania for England, where she will resume her activities as a prominent member of the Classical String Quartet, which she founded in London last spring. Concerts have been booked for this organization on
40
PITTSBURGH LOUDLY
ACCLAIMS ILLINGWORTH
Australian Singer Presents Fine Program Before Art Society
Pittsburgh, Pa., February 17, 1922.—Nelson Illingworth, the much discussed Australian singer, gave a recital last nio-ht at Carnegie Hall before a large and appreciative audience. Mr. Illingworth is the tallest and perhaps the most homely baritone on the concert stage, and by the same token he is one of the most alluring. He has charm and remarkable magnetism. His enunciation is excellent and he displays fine emotional intensity. His program represents the best in song literature. It included seldom heard songs by Schubert; Loewe, the baritone’s composer, and unknown and unsung by most of that gentry, and they rubbed shoulders with Korbay and Moussorgsky. Mr. Illingworth showed himself to be the master builder of programs.
The concert, beginning on time for once, lett half the audience standing in the corridors until the first group was finished. This consisted of Schubert’s “Departure,” “My Abode,” “The Post” and the tremendous “Atlas.” In response’ to a special request Mr. Illingworth sang the second and last numbers over again for the benefit of those who were left outside when the concert began. In the Loewe group his “Tone the Rhymes” made one feel that^perhaps there still are fairies in the world. His “Erlking. ’ a tour de force, was tragic and thrilling, while “Edward" was splendidly dramatized.	.
The next group of Sinding’s sardonic “A Wife. Franz s meditative “The Runie Rock,” Korbay’s setting of the wild Hungarian song, “Shepherd, See Thy Horses Foaming Mane” and Grieg’s plaintive “Swan” were all interestingly interpreted, while Moussorgsky’s “Song of the Flea” was downright funny, even to those not personally acquainted with the plague. As an encore to this group a new light was thrown on “Old Black Joe” by a very unusual and poignantly telling rendition of it.
The final set consisted of several weird chants of the natives of New Zealand—“Waiata Moore,” our own Mac-Dowell’s “The Sea,” a remarkable song when presented m this way, and Percy Grainger’s exhilarating setting of an English folk song. “The British Waterside.” Schumann’s “Clown Song” and a stirring interpretation of “The Two Grenadiers” closed this excellent program. There were numerous encores and Axel Skjerne provided sympathetic accompaniments.	.	B. P.
Butt to Sing in New York
Despite the offers for return dates in almost every city in which Dame Clara Butt, Kennerley Rumford and their associate artists have appeared, the tour will continue according to schedule. Capacity houses, standing room and seats on the stage have proved that Dame Butt has lost none of her witchery over audiences, and her feat of selling out the Capitol Theater in Vancouver, B. C., for two concerts which started at 11 p. m. is considered a record by local managers in that part of the country.
Dame Butt, Mr. Rumford and their assisting artists, Melsa, the Polish violinist, and Grace Torrens, accompanist, will appear in New York City on Sunday night, March 26, at the Hippodrome.
Another Mana-Zucca Composition
A lot of people do not realize that Mana-Zucca was busy composing as long ago as 1908, but a new edition of her Sketch No. 1 for piano, written in Berlin in that year and published by Albert Stahl, has just reached the Musical Courier offices. Indeed, she had already reached her opus 14 even then. The sketch, of medium_ technical difficulty, is decidedly melodious and has a brilliant middle section. Its harmonic structure shows that Mana-Zucca was more influenced by modernism at that time than her more recent works would indicate. This particular composition would do excellent service at the end of a group of short pieces.
Mary Merker in New York
Mary Merker, soprano soloist of the Sixth United Presbyterian Church of Pittsburgh, Pa., and associated with the Pittsburgh Musical Institute, is in New York doing some special work with Herbert Witherspoon and Frank La Forge. Miss Merker is visiting Esther Morris Washburn, one of Mr. La Forge’s assistants.
Raisa-Rimini Signed for Australia
The International Tours, Ltd., of which Frederic Shipman is the manager, has signed Rosa Raisa and Giacomo Rimini for thirty concerts during the summer of 1923. The tour will begin on June 26, 1923, and will end in August. The
Phone: Bryant 7233
By EFFA ELLIS PERFIELD, 41% West 45th Street, New York City
MARIE A. PLATE 425 West 21st Street, New York City Telephone Watkins 7265 222 Roberts Ave., Yonkers, N. Y.	NEW JERSEY ETHEL Y. THOMPSON President, Roseville Music Club Individual and Class Lessons 11 Pittsfield Ave., Cranford	TEXAS NELLIE HALL Friburg Apt., No. 2. Abilene
		FOREIGN
ALICE M. SPAULDING Piano, Coaching and Accompanying Scientific Muscular Pianoforte Technic Individual and Class—All Ages 234 West 74th St., N. Y. Phone: 9284 Col.	MISSOURI FLORENCE E. HAMMON State Normal Teacher Private Lessons and Graded Class Work Seven Assistants Musical Art Bldg. St. Louis	CANADA CARA FARMER Piano and Class Lessons, Demonstrations Certified Normal Teacher Mothers’ Creative Music Course 750 Bathurst, Toronto
MABEL COREY WATT Examining Normal Teacher Directress of Music Flatbush School Four Assistant Teachers 94 Prospect Park W., Brooklyn Phone: South 3688 J.		
		CHINA EMIL DANENBERG Pianoforte Instruction Pupil of Teichmuller (Leipzig) The Albany, Hong Kong
	NORTH CAROLINA IRENE WEAVER Piano and Class Work Normal Teacher Franklin	
NEW YORK
C. KATE BEACOM Piano and Class Work 621 E. 29th St.,	Brooklyn
Phone : Mansfield 1297
EDITH BEARDSLEY Piano and Classes Pupil of Xaver Scharwenka 332 West 85th St.,	New York
Phone: 8265 Schuyler
RUTH JULIAN KENNARD Piano and Class Lessons 15 Claremont Ave., N. Y.
Phone: Morn. 3889
GLADYS MURGATROID Piano and Class Work 361 Sterling Place, Brooklyn Phone: Prospect 5542