55
MUSICAL COURIER
April 6, 1922
Next Warren Ballad Concert April 9
The fourteenth Frederic Warren Ballad Concert will be given at the Selwyn Theater, Sunday evening, April 9, on which occasion the following artists will appear:	Olga
Warren, Alice Louise Mertens, Colin O’Moore, Jerome Swinford and Francis Moore. A feature of the concert will be the presentation of Liza Lehmann’s “In a Persian Garden.”
Lennox and Patton in Joint Recital
Elizabeth Lennox, contralto, and Fred Patton, baritone, who gave a joint recital for the Peninsula Music Club of Newport News, Va., on the evening of March 2, were given a rousing reception. The consensus of opinion seemed to be that it was one of the best concerts ever given in Newport News.
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the Labor Temple over a year ago, instead of one month ago.
I would at least be a soloist by this time.
“There is a mountain of things I must learn, and if I had some kind of an outline to follow I would wade through more quickly. I must hasten—eliminate some things, not really necessary. I am going to wade through, even though I only become a church singer, but my hopes are much higher, and in the meantime I shall keep the pot boiling painting automobiles. I have been working at auto painting for a firm, but shall do it for myself from now on so that I shall have greater time for vocal study.
“What are the requirements for candidates in such contests as that to be held by Ralfe Leech Sterner scholarship (N. Y. School of Music and Arts, as per notice Musical Courier, March 9, 1922?
“My course ahead is planned somewhat like this:	Remain
with Labor Temple and when able to read music, join Oratorio Society. Practice solo work and take part in all Labor Temple concerts. What comes next Mr. Editor?”
This letter is printed in full because there are so many aspiring musicians situated just like our correspondent—more’s the pity! Thirty-seven years old and just beginning the study of music! With the voice of a Caruso, the mentality of a Darwin, and the musical talent of a Beethoven, the result would still be failure.
Hard luck, old man, but you’re too late! It can’t be done. Forget it! Keep your music for a recreation. You will get lots of fun out of it that way. Take it up as a profession and vour net gain will be a life of misery and poverty. Also it might be well for your peace of mind to remember that only about one in ten thousand succeeds even in the smallest way in the profession of music, and in all probability you were not destined to be that one. If you had been, instinct would have kept you off the sea and put you in some teacher’s studio. Those who are born with the art impulse let nothing stand in their way! Read Caruso’s biography and convince yourself.
Titta Ruffo Makes Good Record of “Querida”
The leading dealers for the Victor Talking Machine Company report that the record “Querida,” made by the eminent baritone, Titta Ruffo, had met with unusual favor. It is considered one of the best records ever made by Mr. Ruffo. The music is by Sigmund Spaeth and his collaborator, Al-bano Seismit-Doda, also a well known music teacher. This song has been published by Edward B. Marks Music Company in two keys, B flat minor and medium in C.
Scott’s “Spray o’ Heather” Often Sung
At a recent symphony concert in Saginaw, Mich., Bruce Benjamin, tenor, was the soloist with the orchestra. Among his numbers was John Prindle Scott’s Scotch song, “Spray o’ Heather,” which was well received.
Other soloists who are using this number are: Grace Sagre, soprano, of Pasadena, Cal., and Edith Scott Magna, soprano, to whom the song is dedicated.
Sara Essin Wins Scholarship
A free scholarship has been awarded to Sara Essin, pupil of Marion Summers, at the Cleveland Institute of Music, under Ernest Bloch. Miss Essin won the scholarship on merit alone, as she was not a pupil of the institute. Gifted with a fine contralto voice, Miss Essin has appeared frequently in public with much success.
Jordan Sings for Harmony Club
Mary Jordan was the soloist at the concert recently given under the auspices of the Harmony Club of Fort Worth, Texas, for the benefit of the Caruso American Memorial Foundation Association. Miss Jordan was heard in the aria, “O Don Fatale,” from Verdi’s “Don Carlos,” and in two groups of songs.
Patton’s Eighth “Messiah” Performance
Fred Patton was engaged for a performance of “The Messiah,” given by the Baltimore Oratorio Society, under the direction of Joseph Pache, March 16. This was Mr Patton’s second appearance in Baltimore within four months, and incidentally his eighth performance of “The Messiah” this season.
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
Tenor or Baritone.
“For two years I have been studying singing, but have had three different teachers owing to various circumstances. My first teacher said I was a baritone and placed my voice as a real baritone. The second teacher said I was a tenor and had me sing high notes. Now my teacher says I am a low baritone without any tenor quality, that my voice has been strained and I must only practice a short time each day in a very low quiet voice. Do you think I will regain the strength in my voice. Do teachers often make such mistakes about voices?”
Teachers do sometimes make mistakes about voices, but as you had three teachers in so short a time it may be you were not long enough with any one teacher for him to find out what your voice really is. The only way to cure a strained voice is to rest it, then there js no reason why it should not regain full strength, particularly if you are with someone who understands voice and knows how to cure sick ones.
Tremolo and Vibrato.
“At a concert recently I heard a singer who seemed to have a good voice but she sang with what I called a very bad tremolo. When I said this to a friend she said it was a vibrato. What difference is there between them.”
According to the musical dictionary a tremolo in singing is “a tremulous fluctuation of tone, effective ־ in highly dramatic situations, though frequently a mere־ mannerism or vocal defect.” The vibrato is quite different: “in singing a tremulous effect; differing from the tremolo in not fluctuating from the pitch, partaking of the nature of a trill, or series of very rapid partial interruptions of the tone. Not to be confounded, with tremolo in either sense.” Some years ago voices were־ trained with a tremolo, and once acquired it could not be eradicated. _ Fortunately that fashion is obsolete now, the tremolo only showing bad training or that the voice is worn and not under control of the singer. Even a very poor teacher would dislike to hear a pupil constantly singing with a tremolo. One of the well known singers in London suddenly began to use the tremolo. A friend spoke to her about it but the singer answered: “Why I use that to show what a lot of temperament I have.” She had mistaken the tremolo for the vibrato. It only remains to say that in a short time she appeared less and less in public, her engagements finally coming to an end as the tremolo became overwhelming. She was young, so־ even London could not excuse such a vocal defect. In an aged singer everything is overlooked there, as has frequently been proved. It would therefore be well not to cultivate a vibrato for fear it might degenerate.
Teachers and Singing.
“One of the well known New York vocal teachers recently gave a recital of her advanced pupils who were ready for, and doing, public work. There were five pupils who sang, and as they had all of them only studied with this one teacher, I expected to hear them sing more or less alike and show the method they had been taught. They all sang well, their voices were well trained, but they all sang differently; no one would have thought them pupils of the same teacher. Do you think this is usual or was this teacher an exception?”
This teacher was not an exception. Anyone who really understands the art of teaching, studies the pupils and gives them the chance to express their own individuality. Teachers who make all pupils sing with high, thin voices or low thin voices cannot be called good teachers, however much fame they may have. The case of a teacher in one of the great cities, many of whose pupils are known professionally, has been previously mentioned as an example of what a good teacher is and can do. To him went many singers with established “careers” and world-wide reputation to have faults corrected, or to be shown how to use their voices to better advantage. When asked “What is your method?” he replied: “My method is to teach people to sing, and I have to study my pupils carefully to know how and in what way I can best reach their intelligence.” That he studied them successfully was proven by the results he obtained.
Too Late!
> “Eighteen months ago I left the sea after being at sea for eight years. My purpose in deserting it for_ terra firma was, and still is, that I want to be a vocalist. This is a very large order for one in my circumstances, and after reading my plea, I would like you to tell me what you consider my chance is of success, ־ not that your opinion will deter me any more than the opinions of some hundreds of doubting Thomases do that I received gratis; but perhaps you may apply one drop of oil to assist my wheels of progress to ascend a very steep grade.
First objectionable feature; I am thirty-seven years of age, and while I consider myself a young man, most of my friends throw up their hands in horror of the idea of one so far advanced in age trying to learn new tricks.
“Second I have been so busy learning things that my education has been neglected. I know more about people and have greater first hand knowledge of hundreds of different subjects than the average_ man, but I have had very little ‘book lamin’.’
I know the English language somewhat and nothing of any other.
I can not even tell one note from another without counting up or down the scale from middle C, but I have a good bass voice of pure timbre (information obtained gratis from a man studying for the opera), and besides that I have often been told by people who know that I should have my voice trained. I wanted to do this fifteen years ago, but I am a black bean in a barrel of white beans with my people and I can not do any practicing at home. I gave up the idea, traveled, went to sea, got married, became a widower with two babies and solely on their account I must go easy; they are as brakes to my ambition, but I will always keep the brakes in working order.
“Someone told me that Bispham at forty, knew not a note. (This is not so.—Editor.) If so perhaps I may have a chance, but I would like someone who has a large stock of knowledge on such subjects to tell me just what I can expect to achieve by hard study, also to outline a course to pursue. I am striving for a goal in the dark.
“I have been singing in a church choir, Sacred Heart Church,
Sth Avenue and 2nd Street, Mt. Vernon, N. Y., for over a year. I started taking lessons soon after leaving the sea, but could not afford to keep on with them. I also sing every Sunday night at The Labor Temple, on 14th Street and 2nd Avenue, New York City, and in return for this service I receive vocal lessons and sight-singing lessons. I wish I had known of
of Improved Music Study lop Beginners, Inc.
DUNNING SYSTEM
TEACHERS EARNING Irom $2000 to $6000 A YEAR
Normal Classes as follows:
Harriet Bacon MacDonald, 825 Orchestra Bldg., Chicago; 1311 Elm St., Dallas, Texas, June, 1922; Chicago, August, 1922.
Carrie Munger Long, 60־« Fine Arts Bldg., Chicago, 111.; classes held monthly througn the year.
Mrs. Wesley Porter Mason, 5011 Worth Street, Dallas, Texas.
Laura Jones Rawlinson, Dunning School, 252 West 74th Street, New York City, January 3; Portland, Ore., June 17, and Seattle, Wash., August 1.
Virginia Ryan, 1115 Washington Street, Waco, Texas, November and February.
Mrs. Stella H. Seymour, 1219 Garden Street, San Antonio, Texas. Summer class opens June 5.
Mrs. Ura Synnott, 824 No. Ewing Ave., Dallas, Tex.
Una Clayson Talbot, 3068 Washington Blvd., Indianapolis, Ind.
Isabel M. Tone, 469 Grand View Street, Los Angeles, Cal., June 19 to July 22, 1922.
Mrs. S. L. Van Nort, 2815 Helena St., Houston, Texas, Sept. 19.
Mrs. H. R. Watson, 124 East 11th St., Oklahoma City, Okla., January 15, March 15, and May 15.
Anna W. Whitlock, 1100 Hurley Avenue, Fort Worth, Texas.
Mattie D. Willis, 1922—Waco, Texas, Jan. 9; New York City, June 26-Aug. 14, Sept. 20 and every month thereafter. Address 617 S. 4th St., Waco. Texas, or 915 Carnegie Hall, New York City.
Mrs. Carrie Louise Dunning, Originator, 8 West 40th Street, New York City.
New York City, Sept. 22; Los Angeles, Jan. 25, 1922. Anna Craig Bates, 732 Pierce Bldg., St. Louis, Mo., June 1, 1922. Mary E. Breckisen, 354 Irving Street, Toledo, Ohio. Detroit, Mich., June, 1922; Toledo, Ohio, July, 1922.
Mrs. Jean Warren Carrick, 160 East 68th St., Portland, Ore., June, September and March.
Adda C. Eddy, 136 W. Sandusky Ave., Bellefontaine, Ohio; February, March, Miami, Fla.; April, Bellefontaine, Ohio; June, July, Columbus, Ohio.
Beatrice S. Eikel, Kidd-Key College, Sherman, Texas.
Jeanette Currey Fuller, Rochester, New York.
Ida Gardner, 15 West Fifth Street, Tulsa, Okla.
Cara Matthews Garrett, San Marcus Academy, San Marcus, Texas; San Antonio, Texas, on June 5 and July 17.
Addye Yeargain Hall (Mrs. Wm. John Hall), Musical Art Bldg., St. Louis, Mo., or 145 West 45th St., New York; New York City, June 19; Buffalo, N. Y., August 1; Jefferson City, Mo., Sept. 11.
Mrs. Julius Albert Jahn, Dallas Academy of Music, Dallas, Texas. Maud Ellen Littlefield, Kansas City Conservatory of Music, 1515 Lin wood Blvd., Kansas City, Mo.
Information and booklet npon request
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