June 2 2, 1922
MUSICAL COURIER
Gabrilowitsch and Ganz. Leopold Stokowsky, before his appointment to the conductorship of the Cincinnati Orchestra, Ossip Gabrilowitsch and Rudolph Ganz, it is recorded, only possessed a limited number of guest appearances as conductors before their appointments to the conductorships of our representative orchestras—and they were born and educated Europeans. That they developed and grew with these' orchestral appointments "to standards of distinction is also a matter of record, and that they did not pass through the rigid apprenticeship of “third or second assistant conductors in some small municipal or private orchestra in Europe," as Mr. Wheelock states all European aspirants for the baton must do before they qualify. It is not to be denied that, given a born talent for leadership, a thorough study of music, the aspirant should gain sufficient routine in an orchestra under able conductors before attempting a conductorship. Indeed, it is a necessity, and the conductor who does not advance step by step !!Trough the various stages of theater, opera, and concert conducting is missing something of great value. However, there are many American conductors occupying the “pit” today that are worthy of advancement. Stock, Damrosch, Hadley and Herbert are examples of this “passing through,” and, just as soon as the backers of our symphony orchestras will provide the same opportunity they are giving European conductors to our American applicants who can qualify, we will have 100 per cent. American musicians just as we have 100 per cent. American business men, lawyers, doctors, etc. Each and every one of the latter are required to have passed through various stages of experiences before becoming presidents or honor men.
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MUSICAL MANAGERS
AND YOUNG ARTISTS
As important as brokers are to Wall Street, as salesmen are to business, as lawyers to court proceedings, so important are managers to those musical artists who make public concert appearances or desire to do so. All experienced artists become aware of the fact, and all inexperienced artists become aware of it very quickly after they are ready to take their first steps in the active career of a public performer.
Much has been said against musical managers and when the evidence is all sifted down, it seems to consist chiefly of the accusation that some of the managers are dishonest. Some brokers, some salesmen, some lawyers, also áre dishonest, but it does not necessarily follow, therefore, that all brokers, salesmen, and lawyers are dishonest.
The young artist just starting out in public life has a difficult path before him, and one of his first tasks is to find a proper manager. How to choose an honest one? Consult with experienced artists, or else ask the advice of reputable persons in the musical profession, or who are connected with it. Musical writers on the daily newspapers, the editors and business managers of musical journals, and well known teachers all would be in a position to guide a young artist correctly and usually are glad to do so.
Never sign a contract with a manager without first submitting it to a competent third party, and never pay a manager money without first getting from him a contract stipulating what he is to do for money so received.
Remember that a manager who asks for money before he is willing to manage you is not therefore dishonest. He probably will tell you that it is very difficult and next to impossible to get engagements for an unknown artist, that he must expend money to make you known and to exploit any possible successes you may have, that he has outlays for traveling in order to offer you to out-of-town clubs and managers, and that he has office rent to pay, as well as all his other so-called “overhead” charges. All of which is true and quite legitimate.
Given talent sufficient to make a public career worth while the beginner in the concert field will find it almost imperative to work through a manager, but now and again the budding artist has elected to try self-management, and in some cases with an impressive degree of success.
The system in self-management is to get a reliable list of clubs and out-of-town managers, and then to send them circulars, press notices and personal letters. Meanwhile the applicant must be what is termed a good “mixer,” make as many useful acquaintances as possible, and in that manner build up an informal clientele wherever it is possible to do so.
However, and let us repeat it once more, the best thing for a young artist to do is always to ask counsel of those who have had experience and know all the dangers and pitfalls of a reckless and ill-considered start which has to be made all over again in so many cases that it is pitiful.
WHY NOT IN AMERICA?
MacDowell’s second concerto for piano and orchestra was played in Paris, at the Salle Gaveau, on May 24, by Madeleine de Valmalete, with an orchestra conducted by Francis Casadesus. Was it played in America during the past year? Probably not— MacDowell was an American.
splendidly illustrated catalogue must be looked to for details. To anyone interested in a musical education it is a book worth reading.
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MINNESOTA MUSIC SCHOOL
NOW ENDOWED BY STATE
What is believed to be a unique distinction has been conferred upon the department of music of the University of Minnesota in the appropriation by the State Legislature of $300,000 to cover expenses, including building and equipment.
Music has also here been recognized by the giving of credits for practical achievement as distinguished from theory which, in many cases, is the only branch of music for which credits are given. The University of Minnesota allows forty credits for music out of a possible 192.
The department of music differs also in another point from many such institutions in that its staff of teachers has the standing of regular university instructors or professors receiving a regular fixed salary instead of the usual guarantee and commission method by which their income depends upon their ability to attract pupils.
The school is headed by Carlyle M. Scott, a man possessed of executive ability as well as musician-ship. He is assisted by Donald N. Ferguson and William Lindsay and the following instructors: Theresa M. Courture, George H. Fairclough, Thad-deus P. Giddings, Gertrude R. Hull, Richard Lin-denhahn, David Nyvall, Jr., Abe Pepinsky, Gertrude Reeves, Karl Scheurer and Henry J. Williams.
The following phrase from the school prospectus contains a world of wisdom and indicates the common sense efficiency of those in charge: “In the field of practical music the greatest pains are expended in developing the individual student’s talent. But the university recognizes the fact that many students who have neither the desire nor the capacity for the arduous career of concert performers are much better fitted than the average practical musician for the work of teaching. For such students unique opportunities for study in the special fields of public school music are provided together with practical instruction in instrumental teaching.”
There is also at the university a concert course including five world renowned artists and three chamber music concerts at a very reasonable fee.
Evidently this school offers a complete and well-rounded education for the musician, and its methods are worthy of commendation and emulation. ----------------------<$>---
THE CARUSO FRAUD
Further data concerning the Caruso fraud, of which an outline was given in this place last week, has now come to hand, through the kindness of the John Church Company, which has placed at our disposal all of the correspondence relating to this matter.
It appears that the spurious Caruso book on singing first appeared in 1909 in “The Gentlewoman.” Several news agencies, both American and British, were involved in the sale, but, as it seems probable they acted in good faith, it is unnecessary to give their names.
The book had been out but a short time, issued by the English house of John Church, when a writ was served on this house declaring “How to Sing” to be an infringement on “L’Art du Chant Technique” by Mme. Meyerheimer, published in Paris in 1900. This information is given in a letter from the English branch to the Cincinnati house of John Church dated July 28, 1914, and continues: “Caruso himself is now causing newspaper paragraphs to be inserted to the effect that he never wrote a word of the book.”
The John Church Company then withdrew the book from the market and brought suit against the news agency by which the book rights were sold to them. The suit was successful and the news company condemned to reimburse them for their entire outlay and expenses and to £80 punitive damages.
AMERICAN CONDUCTORS
A friendly reader of the Musical Courier, himself a conductor of merit who will some day be recognized in spite of the fact that he is American born, sent in the following pertinent remarks. They are to the point and timely:
What do you think about Cincinnati after your plugging for American conductors? I do not want to be quoted, but it appears to me that Alexander Wheelock, whose letter is printed in the last issue of the Courier, is decidedly far from the mark where he implies that the reason an American conductor is not chosen instead of a foreigner is because of the American’s lack of experience and opportunity to develop his ability with the baton. As proof of this false impression one need only to quote the names of Stokowsky,
22
CHICAGO MUSICAL COLLEGE
A REAL MASTER SCHOOL
Carl D. Kinsey, manager of the Chicago Musical College, is celebrating this year the fact that he has at last, after many trials, succeeded in getting out the school’s fall and winter catalogue by June 10.
Certainly the catalogue makes a magnificent showing, and the earlier it is issued the earlier the good news of its splendid offerings will be in the hands of prospective pupils.
In undertaking a review of such a book and what it stands for one scarcely knows where to begin, but as, after all, “the teacher is the whole thing,” it will no doubt be best to give a complete list of those who have charge:
THE FACULTY
• XNU
Glenn Dillard Gunn Eudora B. Harbers Margaret Hayes Pauline Houck Vera Kaplun-Aronson Max Kramm Dorothy Mendelssohn Marguerite Painter Lillian Powers Alexander Raab Bess Resseguie Lillian Rogers Helen W. Ross Louis Victor Saar Myra SeifertTohnson Anna Sevin Ethel Stenn
Belle Tannebaum-Friedman C. Gordon Wedertz ede-Hunter
Adelaide Anderson Alma W. Anderson Maurice Aronson Willa-Bee Atkinson Elsie Barge Esther Baumgartner Jennie Berhenke Edna Boguslawski Moissaye Boguslawski Vera Bowen Julia Lois Caruthers Anna Ring Clauson Edward Collins Mary Eleanor Daniels Harry R. Detweiler Hilma Enander Gertrude Gahl Manfred Gotthelf Percy Grainger
Mabel
VOCAL
Emily Miller John B. Miller Adolf Muhlmann Jessie Waters Northrop Erma Rounds Louis Victor Saar Edoardo Sacerdote Oscar Saenger Mrs. Oscar Saenger Eleanor Scheib Percy Rector Stephens Burton Thatcher Herbert Witherspoon Wolverton
Kennard Barradell Sara Irene Campbell Helen Frances Chase Belle Forbes Cutter Edouard Dufresne Rose Lutiger Gannon Olga Gates Edith W. Griffing Richard Hageman Mabel Sharp Herdien Florence Hinkle Theodore Kratt Dr. Fery Lulek
Helen
VIOLIN
Bertha Kribben Victor Kuzdo Rachel Major Gereldine Massey Rudolph Reiners Leon Sametini Ebba Sundstrom Elsa Kanne
Professor Leopold Auer Lois Dyson Max Fischel Frederik Frederiksen Maurice Goldblatt Adymae Hathaway Ray Huntington
ORGAN
Clarence Eddy	C. Gordon Wedertz
Helen W. Ross
VIOLONCELLO Herman Felber, Sr.
HARMONY, COMPOSITION, COUNTERPOINT, CANON AND FUGUE
Felix Borowski	Harold B. Maryott
Laura D. Harris	Nellie Moench
Pauline Houck	Louis Victor Saar
teachers’ normal courses
Piano—Julia Lois Caruthers, Percy Grainger, Glenn Dillard Gunn, University Piano Course.
Vocal—Harold B. Maryott, Oscar Saenger, Herbert Witherspoon, Burton Thatcher.
Violin—Prof. Leopold Auer, *Max Fischel.
Expression and Dramatic Art—Walton Pyre.
Dancing—Mile. Ruth Austin.
Ear Training and Musical Literature—Louis Victor Saar. Sight Reading, Ear Training, Solfeggio—Harold B. Maryott.
Ensemble—Leon Sametini.
Repertoire — Interpretation — Leon Sametini, Burton Thatcher.
History of Music—Felix Borowski.
Orchestration—Felix Borowski.
Public School Music—Harold B. Maryott, Nellie Moench. Lectures in Pedagogy—Harold B. Maryott. Accompanying—Richard Hageman.
Toe, Ballet, Interpretative and Classical Dancing—Mile. Ruth Austin.
Clarinet—J. G. Burns.
Saxophone—J. G. Burns.
Flute—A. Quensel.
Bassoon—Walter Guetter.
Trumpet and Cornet—N. Tarantino.
Harp—Leona M. Hayes.
Trombone—Carl Braun.
School of Expression—Walton Pyre, Minna Mae Lewis, Margaret Hayes, Gertrude Hemken-Schumann, Mabel L. Howatt. Dora Owens, Ruth Siegel.
School of Dramatic Art—Walton Pyre.
Opera Coaching and Action—Richard Hageman, Adolf Muhlmann, Edoardo Sacerdote.
French—Edouard Dufresne.
Italian—Amedeo C. Nobili.
All orchestral instruments not named above are taught by members of the Chicago Symphony Orchestra.
What is there to add to this imposing list ? What further guarantee of proper and inspired teaching could possibly be demanded or desired? The fact that this school, founded in 1867 and now fifty-five years of age, has built up to this eminence and is going stronger every year, speaks for itself. The