March 2 3, 1922
of today—although this probably pertains to the pupils of any age—is the lack of individuality. It seems to be so easy for them to copy some one else rather than work out anything for themselves.
“Let me illustrate! Not long ago one of my pupils was studying a Chopin polonaise and doing very well with it. And then one day she came and made such a botch of it that I was thoroughly astonished. Questioning brought forth the information that she had heard a well known pianist give this work at a recital and immediately she had endeavored to copy his interpretation, with the result that her interpretation was neither the artist’s nor her own, nor even according to what the composer had written. The same thing happened to a group of Beethoven which another pupil had worked faithfully in preparing. I gave him a good scolding. I hope they both learned a lesson they will not forget in a hurry.
A “Stern” Preceptor.
“Oh, yes, I can be very stern and scold like a regular tyrant,” confessed Mr. Berumen, but there was a merry twinkle in his eyes which belied his words. “I scold my pupils if I find they are getting the society bug and spending a large share of their time at pink teas. I don’t mean necessarily that they just go and have a good time at the tea, but they are playing at this one and that'.
“Oh, yes, I know what you are going to say, that they feel it is good experience, that they need influence and that they become known in this way, but I don’t agree with you at all. Generally speaking, frequenters of these teas are not those who pay for tickets when the artist gives a recital. Of course, I know such a statement generally starts an argument, so we’ll change the subject.”
The Play Habit.
“All right. Shall we talk about the weather or the latest play?”
“The play, by all means, for that is my one diversion. I am very fond of the theater and make it a point to go
once a week.”
“In which case I should call the theater a habit and not a diversion.”
“I simply had to make a habit of it or I would never get. there, for you know how easy it is to put things off until tomorrow.”
“Yes, unfortunately, and then, too, I think we New Yorkers are very apt to get into the habit of thinking it doesn’t make much difference in so far as the theater is concerned, for there is always something doing.”
“Quite true. I used to go alone a great deal, but I now have a kindred spirit in Lyell Barber, and we do have the best times together. Recently we took a run down to Washington and had a jolly lark. Here’s proof of it,” and Mr. Berumen produced the picture which appears herewith.
Reading Yogi.
“Do tell me what you are reading now? Every time I meet you it is something different and always so fascinating.”
“It happens to be Yogi just now,” and Mr. Berumen gave a merry laugh in answer to the question I looked. “It is Hindu philosophy. Of course, I am not making a real study of it, just reading for my own enjoyment and information. Some of their principles are astonishingly like those we find propounded in Christian Science. They also believe in reincarnation. It is very interesting and by reading just a little from time to time I find that interest never lags.
To Frank LaForge.
“But, my goodness, you have made me refute the assertion that women are the greater talkers. As a matter of fact, I may tell you in confidence that in my opinion men are just as prone to that fault—if not more so—than women. I positively refuse to talk further today, except to state that I can never say enough in praise of Frank LaForge, nor can I ever be grateful enough for all his kindnesses and kindly interest in me and mine. He is a wonderful friend and counsellor.”	H. R. F.
Namara Wins Boston Audience
On March 5, Marguerite Namara appeared in concert for the Boston Athletic Association in that city and scored even more than her usual success, if one may judge by the following telegram received by her managers from the secretary of the important organization for which she sang: “Namara the sensation of our concert series. She won her audience from the start and was recalled again and again. A few Namaras now and then will put Boston on the map again.”
Mme. Namara was accompanied by a small orchestra recruited from the men of the Boston Symphony. Among her numbers was the “Butterfly” aria, the “Jewel Song” from “Faust,” the “Romeo and Juliette” waltz, and a group of songs which proved particularly successful as interpreted by the Chicago Opera soprano.
Pianists Prepared for Piblic Appearances
Paris, France
SWATHE
WAGER
33 Avenue Montaigne,
Jean de Reszke 53 Rue de la Faisanderie Paris
LESCHETIZKY of Piano
47 Boulevard Berthier, Pari*, France
Under the personal direction of MME. THEODORE LESCHETIZKY
,	(Marie Gabrielle Leschetizky)
John Heath, Associate Director.	Artists’ Class and Private Lessons.
$8	MUSICAL COURIER
ERNESTO BERUMEN A SEEKER AFTER INDIVIDUALITY
Pianist Has Sortie Radically Different Ideas Regarding Program Making—Feels That Imitation Is the Pupil’s Worst Enemy —Fond of the Theater—Enjoys Yogi—Praises Frank La Forge
there are only two numbers which were scheduled originally. As in each case I had studied and memorized the entire program before I decided to change it, you will see that I did not discard lightly.”
“But why?—the eternal question—why make yourself so much work, not that it is wasted, of course (real study never is!) but still why?”
“If I were a woman I suppose I should answer ‘because’ and let it go at that. Instead, if I speak the truth, I am compelled to confess that it was because of my desire to have a program a little different from all the rest.
“Why So Much Similarity.”
“Why do pianists always want to play the same things?” and Mr. Berumen looked gravely questioning.
Receiving no response he continued: “I make it a practice to secure all the programs played by pianists at Carnegie, Aeolian and Town halls during the season, and they make an interesting study in comparisons. The thing which strikes me most forcibly about them is the very great similarity which invariably marks their make-up.”
“But, you know, people do enjoy hearing again and again those things with which they are familiar. Perhaps the artists, being likewise students in psychology, have this in mind when preparing their programs.”
“Perhaps you are right. At any rate, that is what they are doing, whatever the reason may be.”
The Boutelle Suite.
“I see you are going to play a suite dedicated to yourself.”
“Yes, it is by Betty Boutelle, a very clever pupil of Ernest Bloch. It is called a ‘Pan’ suite, and consists of four short sketches describing a day in the life of Pan. The first, ‘Pan Laughs,’ pictures Pan laughingly descending the mountain slope playing on his pipes. The second, ‘Pan Weeps,’ is in somber colors. A wild dance for which Pan plays his own accompaniment on his pipes is represented by the third part, and in the fourth, evening in the forest, Pan sleeps and dreams fantastic dreams.”
No Chopin.
“There is no Chopin on your program and you are so fond of him.” The tone was frankly curious.
“No. I haven’t quite found courage to include him, although I probably shall another year. There are other
ERNESTO BERUMEN,
strolling near the White House during a recent visit to Washington.
things, too, I should like to play, but my hands are too small to play them properly. It is the same old story of wanting what we cannot have. I like the heavy things so well, but not so well that I am stupid enough to think they are the things for me to play.”
“What’s this I hear about your playing your program at the Music School Settlement before your recital ?”
Pre-Recital Hearings.
“Oh, it is perfectly true; I always give the program two or three or even more times before I present it at Aeolian. Of course, some people think it is a queer idea, but it helps tremendously. And another thing which seems strange to many people is the fact that I spend most of the day of the recital in practicing. Folks are constantly warning me against this, saying that an artist needs perfect rest and quiet at^ that time in order to give of his best. I don’t agree with them at all, for if I were to try to be quiet and rested on that day the result would be quite the opposite. I m sure I would be a nervous wreck by the time the hour arrived if I just sat around and waited for it. So I get up early the day of the concert and practice just as usual, which means from 8:30 until 11:30.”
“That is the way you do every day?”
Keeps His Teaching and Playing Entirely Separate.
“No, not every day, for, of course, I go to town and teach at the studios twice a week. Those days I do not practice myself, but give my thoughts and myself entirely to the pupils. But the remainder of the week is mine and I practice those hours in the morning and again in the afternoon, doing at least five hours each day. And I will^ not have thoughts of the teacher at that time. That time is my own, and I have found that the only way to make the most of one’s talents as a teacher and as an artist is to keep the two absolutely separate.
Pupils Prone to Imitate.
“I am very fond of teaching and of watching the growth of the various pupils. The greatest trouble with the pupil
“What a fine iidea 1”
It was an advance announcement of the piano recital which Ernesto Berumen will give at Aeolian Hall on Thursday afternoon, March 30, which called forth this involuntary ejaculation. At first glance it looked exactly like hundreds of similarly printed slips that constantly drift into notice during the season. It bore the name of the artist, the place, the date, the hour and the program, just as they all do,, but the reverse, instead of carrying the usual press opinions regarding the artist’s work, consisted of program notes.
“It is a good .idea,” returned Mr. Berumen with evident satisfaction, “and I’m only sorry I can’t claim the credit for having thought of it. However, honor to him to whom honor is due, and I must confess that Edwin Hughes used the idea earlier in the season and I like it so well that I am following suit.”
“Mr. Hughes should be pleased at your subtle compliment. You really deserve one yourself, too, for such an interesting program.”
In Quest of an Interesting Program.
“Thank you. I appreciate that—especially since I have been working very hard to make the program a success from precisely that point. I can’t tell you how many times I have worked out the program to the point where I thought it was exactly what I wanted, only to decide later that it would be best to make a change. Indeed, as it now stands
II KATHRYN
Me isle
Again Scores an Unqualified Success
HANDEL and HAYDN SOCIETY Boston, Mass.
DVORAK’S STABAT MATER March 12, 1922
Reproduced from Boston American, March 13, 1922
ORATORIO AT SYMPHONY IS WELL SUNG
Notable Array of Soloists Heard at Handel-Haydn Concert
So great is Boston’s interest in oratorio that Symphony Hall was filled to overflowing yesterday afternoon for the concert of the Handel-Haydn Society, with the following notable list of soloists:	Helen Stanley, soprano:
Kathryn Meisle, contralto:	Arthur
Hackett, tenor, and Clarence White-hill, bass.
“Stabat Mater,” by many considered one of the best things that Dvorak ever composed, was presented and it was obvious that the audience approved the choice of Mr. Mollen-hauer.
The chorus sang well, much better in fact than they have on other occasions of the present season, and the work of the soloists throughout was thoroughly up to the mark. ESPECIALLY LOVELY IS THE VOICE OF KATHRYN MEISLE—THERE IS ALL THE DEEP BROAD RESONANCE THAT IS SO ESSENTIAL TO THE CONTRALTO AND THERE WAS ALSO TO BE OBSERVED, THE POTENTIALITIES OF A VOICE THAT IS BIG IN DRAMATIC RANGE. WE WOULD LIKE VERY MUCH TO HEAR HER IN ANOTHER OPPORTUNITY WHICH WOULD OFFER MORE SCOPE TO HER SKILL THAN THE RESTRICTED RANGE OF ORATORIO.
The audience seemed to select for their favorites of the soloists Mr. Hackett and Miss Meisle, although it is true that Mme. Stanley and Mr. Whitehill acquitted themselves with a great deal of credit, if not quite so much flair. On the whole, the concert was an unqualified success and much credit is due to the unflagging zeal of Mr. Mollenhauer. Mr. Tucker was at the organ.
MISS MEISLE is under the exclusive management of
M. H. HANSON, 437 Fifth Avenue, New York