January 4, 192 3
WHERE THEY ARE TO BE
From January 4 to January 18
Kouns, Sara:
Binghamton, N. Y., Jan. 12. Summit, N. J., Jan. 16. Kruse, Leone:
Chicago, 111., Jan. 7. Northfield, Minn., Jan. 12. Minneapolis, Minn., Jan. 14. Land, Harold:
Yonkers, N. Y., Jan. 11. Letz Quartet:
New London, Con¿., Jan. 15. Scranton, Pa., Jan. 16. Meadville, Pa., Jan. 18. Levitzki, Mischa:
Cleveland, Ohio, Jan. 4, 6. Muncie, Ind., Jan. 8.
Peoria, 111., Jan. 10.
Buffalo, N. Y., Jan. 16. Maier, Guy:
Grand Rapids, Mich., Jan. 5. Cincinnati, Ohio, Jan. 8. Chicago, 111., Jan. 9. Logansport, Ind., Jan. 10. Janesville, Wis., Jan. 12. Paterson, N. J., Jan. 18. Manen, Juan:
Boston, Mass., Jan. 4.
Meisle, Kathryn:
Manchester, N. H., Jan. 12. Detroit, Mich., Jan. 14.
Ann Arbor, Mich., Jan. 15. Middleton, Arthur:
Oakland, Cal., Jan. 4. Medford, Ore., Jan. 5. Tacoma, Wash., Jan. 10. Pullman, Wash., Jan. 12. Lewiston, Mont., Jan. 15. Cheyenne, Wyo., Jan. 18. Moiseiwitsch, Benno: Pittsburgh, Pa.' Jan. 4.
Moore, Hazel:
New Bedford, Mass., Jan 11. Ney, Elly:
Providence, R. I., Jan. 12. Onegin, Sigrid:
Minneapolis, Minn., Jan. 9. Chicago, 111., Jan. 12.
Omaha, Neb., Jan. 17. Paderewski, Ignace:
Cleveland, Ohio, Jan. 5.
Ann Arbor, Mich.. Jan. 8. Detroit, Mich., Jan. 9. Pittsburgh, Pa., Jan. 11.
Erie, Pa., Jan. 13.
Milwaukee, Wis., Jan. 15. Minneapolis, Minn., Jan. 17. St. Paul, Minn., Jan. 18. Pattison, Lee:
Grand Rapids, Mich., Jan. 5. Cincinnati, Ohio., Tan. 8. Chicago, 111., Jan. 9. Logansport, Ind., Jan. 10. Janesville, Wis., Jan. 12. Paterson, N. J., Jan. 18. Petrauskas, Mikas:
New Britain, Conn., Jan. 5. New Haven, Conn., Jan. 6. Bridgeport, Conn., Jan. 7. Brooklyn, N. Y., Jan. 9. Newark, N. J., Jan. 10. Philadelphia, Pa., Jan. 11. Baltimore, Md., Jan. 12. Rochester, N. Y., Jan. 14. Cleveland, Ohio, Jan. 16. Detroit, Mich., Jan. 17.
Grand Rapids, Mich., Jan. 18.
Philadelphia Orchestra:
Pittsburgh, Pa., Jan. 12-13. Rachmaninoff, Sergei:
Havana, Cuba, Jan. 6, 9.
Miami, Fla., Jan. 11. Charleston, S. C., Jan. 14. Daytona Beach, Fla., Jan. 15. St. Denis, Ruth:
Erie, Pa., Jan. 4.
Rutland, Vt., Jan. 5. Burlington, Vt., Jan. 6. Manchester, N. H., Jan. 8. New London, Conn., Jan. 9. Lowell, Mass., Jan. 10. Worcester, Mass., Jan. 11. Pittsfield, Mass., Jan. 12. Portland, Me., Jan. 13. Poughkeepsie, N. Y., Jan. 15. Boston, Mass., Jan. 17. Philadelphia, Pa., Jan. 18. Samaroff, Olga:
Brooklyn, N. Y., Jan. 5.
New Haven, Conn., Jan. . 14. Washington, D. C., Jan. 16. Schelling, Ernest:
Atlanta, Ga., Jan. 4.
Shawn, Ted:
Erie, Pa., Jan. 4.
Rutland, Vt., Jan. 5. Burlington, Vt., Jan. 6. Manchester, N. H., Jan. 8. New London, Conn., Jan. 9. Lowell, Mass., Jan. 10. Worcester, Mass., Jan. 11. Pittsfield, Mass., Jan. 12. Portland, Me., Jan. 13. Poughkeepsie, N. Y., Jan. 15. Boston, Mass., Jan. 17. Philadelphia, Pa., Jan. 18. Telmanyi, Emil:
Grand Forks, N. D., Jan. 5. Winnipeg, Can., Jan. 8.
Thibaud, Jacques:
Rochester, N. Y., Jan. 10. Danbury, Conn., Jan. 13.
Alcock, Merle :
Troy, N. Y., Jan. 10.
Balas, Clarice:
Cleveland, Ohio, Jan. 5. Barclay, John:
Middletown, Conn., Jan. 11. Calvé, Emma:
Long Beach,.Cal., Jan. 4.
Los Angeles, Cal., Jan. 6, 9. San Francisco, Cab, Jan. 14. Chaliapin, Fedor:
Wheeling, W. Va., Jan. 4. Cleveland, Ohio, Jan. 7. Cincinnati, Ohio, Jan. 9. Milwaukee, Wis., Jan. 12. Chicago, 111., Jan. 14.
Claussen, Julia:
Reading, Pa., Jan. 4.
Cortot, Alfred :
Washington, D. C., Jan. 4. Chicago, 111., Jan. 7.
Cedar Rapids, Iowa, Jan. 9. Kenosha, Wis., Jan. 12. Davenport, Iowa, Jan. 18.
Cottlow, Augusta:
Sandusky, Ohio, Jan. 8. Crooks, Richard:
Port Chester, N. Y., Jan. 4. Baltimore, Md., Jan. 16.
D’Alvarez, Marguerite:
Washington, D. C., Jan. 5. Dobkin, Dmitry:
Toronto, Canada, Jan. 4. Dux, Claire :
Jacksonville, Fla., Jan. 8. Philadelphia, Pa., Jan. 11.
Farrar, Geraldine:
Providence, R. I., Jan. 7. New Haven, Conn., Jan. 8. Lowell, Mass., Jan. 12.
Lynn, Mass., Jan. 14. Flonzaley Quartet:
Detroit, Mich., Jan. 4.
St. Louis, Mo., Jan. 6. Chicago, 111., Jan. 7.
Buffalo, N. Y., Jan. 8. Cleveland, Ohio, Jan. 9. Niagara Falls, N. Y., Jan. 10. Geneseo, N. .Y., Jan. 11. Ithaca, N. Y., Jan. 12. Aurora, N. Y., Jan. 13. Philadelphia, Pa., Jan. 14. Boston, Mass., Jan. 18.
Gerardy, Jean:
Pittsburgh, Pa., Jan. 4. Gerhardt, Elena:
Chicago, 111., Jan. 7.
Peoria, 111., Jan. 10.
Hackett, Arthur:
St. Louis', Mo., Jan. 11. Hess, Myra:
Troy, N. Y., Jan. 10.
Chambersburg, Pa., Jan. 13. Cumberland, Md., Jan. 15. Harrisburg, Pa., Jan. 17. Howell, Dicie:
Oxford, Ohio, Jan. 12.
Hinshaw’s Cosi Fan Tutte Company:
Erie, Pa., Jan. 9.
Bethlehem, Pa., Jan. 10. Greenville, S. C., Jan. 11. Asheville, N. C., Jan. 12. Maryville, Tenn., Jan. 13. Atlanta, Ga., Jan. 15. Savannah, Ga., Jan. 17. Jacksonville, Fla., Jan. 18.
Hinshaw’s Cox and Box Co.:
Ruston, La., Jan. 4.
Lake Charles, La., Jan. 6. Beaumont, Texas, Jan. 8. Huntsville, Texas, Jan. 9.
San Antonio, Texas, Jan. 10. Denton, Texas, Jan. 11. Denison, Texas, Jan. 12. Durant, Okla., Jan. 13. Oklahoma City, Okla., Jan. 15. Chickasha, Okla., Jan. 16. Guthrie, Okla., Jan. 17. Clinton, Okla., Jan. 18.
Hinshaw s Impresario Co.:
Longmeadow, Mass., Jan. 5. Elizabeth, N. J., Jan. 8. Shamokin, Pa., Jan. 9. Englewood, N. J., Jan. 10. Indiana, Pa., Jan. 11.
New Brunswick, N. J., Jan.
Indianapolis, Ind., Jan. 15. Lorain, Ohio, Jan. 16. Rochester, N. Y., Jan. 17.
Karle, Theo:
Lansing, Mich., Jan. 9.
Kindler, Hans:
Philadelphia, Pa., Jan. 8. Chambersburg, Pa., Jan. 9.
Konecny, Josef:
Rawlins, Wis., Jan. 4.
Rock Springs, Wyo., Jan. 5. Evanston, Wyo., Jan. 8. Ogden, Utah, Jan. 10. Brigham City, Utah, Jan. 11. Logan, Utah, Jan. 12.
Preston, Idaho, Jan. 15.
Salt Lake City, Utah, Jan. 16.
Kouns, Nellie:
Binghamton, N. Y., Jan. 12. Summit, N. J., Jan. 16.
Denishawn Dancers Popular in College Towns
On Monday evening, January 15, the students of Vassar College in Poughkeepsie, N. Y., will have an opportunity to attend a performance of Ruth St. Denis, Ted Shawn and the Denishawn Dancers. An engagement has just been closed by their manager, Daniel Mayer, for an appearance in that city at the Poughkeepsie Theater. This engagement will be one of a dozen or more in college towns and, incidentally, brings the total of January engagements to twenty-nine, the fullest month of the tour so far.
Second Levitzki Recital Here
Mischa Levitzki will return from the Middle West for his second and last New York recital of the season at Carnegie Hall on January 24.
MUSICAL COURIER
to American composers, but the imbecilities and inanities inflicted on publishers is fearsome. We need trained composers, not an unmuzzled music writer; all music editors are hungry for originality and worth; publishers yearn for a new Cadman, MacDowell and Nevin. MacDowell’s first American suite, composed when he was not twenty years old, is better than most present-day music. It is an absurd notion that a music editor must spend six hours examining a nocturne; one does not need to eat the entire omelet in order to get its taste! Obligations to the composer, and to the stockholders of a company as well, produce big problems for publishers. There is much over-production, in the hope that some of the many works will prove a hit. How many of those present have paid good money for the scores of American grand operas? (A dozen hands were raised). Publishing a work costs from $500 to $2,000, and often only 50 to 200 copies are sold; this is a disheartening state of things. Once in a while composer and publisher make a lot of money out of a song in semi-popular style, such as The End of a Perfect Day. Mr. Sonneck closed with the hope that the Juilliard Foundation would not only aid in publishing high class American music, but also, what is important, to produce it.
P. C. Lutkin (Evanston, 111.) gave his talk on Better Hymn-Singing, starting with the statement that many organists and choirmasters took but little interest in hymn-tunes because they were not really interested in religion; others because of the poor musical quality of the hymns. Certain modern'hymnals have tunes in them dating’back 400 years; there must be something very solid about such tunes! Other hymnals contain at least 100 familiar hymns, which is a good proportion. A certain composer said he would rather write a symphony than a hymn-tune, for it takes a definite artistic knack to compose the latter.. A young minister said he “wished he had had more hymnology and less Greek.'' He quoted standard hymn-texts, and the absolute wickedness of playing them to other tunes. He spoke of "the wretched American self-consciousness,” and said every one has it. Congregational singing is an act of worship, and a congregation should be taught to sing. His talk was extremely interesting, leaving but little time to W. H. Humiston’s talk on The Function of the Music Critic as Interpreter Jo the Public. Though the youngest critic in point of service (only two months on the Brooklyn Eagle) he had certain definite opinions. One must recognize the sincere artist in contradistinction to the lion-sincere. It is not the function of the critic to teach the artist, but rather to teach the public proper appreciation. After all, musical criticism only expresses personal opinions; no critic is free from prejudice, either for or against. One of his most difficult duties was in acting as judge at Peterborough,
(Continued on page 37)
28
MUSIC TEACHERS’ CONVENTION
(Continued from page 5)
Benbow (Buffalo) that of the Committee on History of Music and Libraries; and Rossetter G. Cole that of the Community Music Committee. Leda Crawford Steele (Muskogee, Okla.) read a paper on Music Teaching Among the Blind, and Karl Eschmann (Granville, Ohio) one on the Sentence Structure of Modern Music. Comments on these papers and reports followed, and at the business meeting various practical' suggestions were made and adopted.
Thursday Afternoon.
Francis L. York, chairman, gave his report on American Music, followed by Old-Time Community Music, by W. J. Baltzell. Mr. Baltzell spoke of the pioneers, Woodbury, L. O. Emerson, Lowell Mason, C. C. Perkins, George F, Root, and H. R. Palmer; of these he personally knew Mr. Emerson, who, born in 1820, lived to be ninety-five years old. Arriving in Boston in 1841 with eight dollars, young Emerson managed to make a living and get a partial musical education, followed by the forming of a male quartet, which gave concerts and arranged musical conventions in Albany, Buffalo, Cleveland and Cincinnati, in which latter city one of the quartet settled. The Keene (N. H.) Musical Festival (still going) began at that time.
O. G. Sonneck, vice-president of the Schirmer firm, read a most interesting paper on The American Music Publisher and the American Composer. He denied that all American composers are genuiuses who are neglected by wicked American publishers. Who, for patriotic propaganda, would class MacDowell, for instance, with Bach, Schumann, 1'ranck or Debussy? With all admiration for Beach, Parker and others, they still can not be classed with Rubinstein or Raff. Of the modern Americans, Hadley, Mason, Huss, Carpenter and Whithorne arc all fine composers, but can they claim superiority over European composers ? Certainly there is no one in America to compare with Strauss or Ravel. All sense of proportion and humor is lost when one could expect a new country of 100,000,000 people to compete with an old country with four times as many inhabitants, and a hundred times as many composers. A concert of present-day American composers planned by the Composers’ League for January 3 is thoroughly high classed, including works by Griffes, Loeffler and Gruen-berg. Patriotic propaganda is wasted on infantile American works, because starting with the assumption that a good American who composes is a good American composer. The click of the cash register is. not in the foreground with all American publishers; art songs and heart songs are not synonymous. The American public is not indifferent
COPYRIGHTED RECORD OF
Tire Method of Scientific Voice Culture
KNOWN AS
THE BENCHELEY SYSTEM OF VOCAL STUDY
OUTLINED BY CHARLES J. TRAXLER, Minneapolis Attorney
however, by the method of vocal exercise designed for specific technical practice in the author’s studio teaching, is maintained by a different process from that of current methods of voice training. Breath pressure as required to sustain the developed singing׳ voice is an aggressive factor in a process amply sustained by a relatively passive action of respiratory muscles.”
BREATH PRESSURE
“The higher activities of voluntary breathing muscles and voluntary vocal muscles are aggressive factors in this process (previdlisly described). This system of voice training introduced at. a date (New York and Brooklyn) when traditional methods of vocalization (originally designed for the exercise and artistic training of .exceptional voices of the Latin races) were considered infallible and as authoritative as the law of the Medes and Persians—is now advertised from its original and legitimate source.”—Minneapolis Journal. MARCH 28, 1920.
“The system of technical practice identified with the original teaching of this method, as formulated by the author, includes a motive of vocal exercise, similar in movement to the Swinging (alternating) motive of physical exercise which directly applies to muscular development, as in the raising and lowering of the forearm. The effect of the swinging movement of two tones alternately used (soft tone practice) is entirely different from that obtained by scale practice, as the former is an application of the motive of physical exercise employed in gymnasiums for the strengthening with increased development of muscles.”—Musical America, FALL ISSUE, OCTOBER, 1920.
Energy of the will may be coercive, or it may be relatively passive in effect according to the intent. Passive mental forces and involuntary breathing are sympathetically related to the process of tone development (described) which in accordance with the natural developing process—progresses on the line of least resistances as nature reduces to the minimum the amount of energy required to maintain this process. Integrant findings of this method are described in manuscripts previously published (copyrighted) and in The Musician, 1911 and 1918. Reprint of programs (pupils' recitals given in New York City after two years of study with the founder of this method) is now included in distributed literature.
Scores of students from Maine to San Diego Cal who have studied with the founder of this simplified method (designed for personal use) who had no incentive or desire to take up professional work have
achieved the purpose for which they studied___to sing
witil technical skill and artistic interpretation for their tElea,®ur.e■ , Intelligent students readily appreciate that the basic tiuths of vocal science find expression in the use of the vocal mechanism which is in direct correspondence with physiological law. They also readily learn that vocal science and vocal art are distinct branches of vocal study.
Apropos recent articles published in various musical journals, descriptive of so called new methods of voice culture, the founder of the method herein described calls attention to the letter of Charles J. Traxler, Minneapolis attorney, published by the Editor of the Minneapolis Times, FEBRUARY 25, 1897.
An extract from this letter (referring to an article inserted in the advertising section of a current magazine) reads as follows:
“That portion of the article treating of ‘Rational Pone Production,’ and the method therein described, suggest distinctive features of the Bencheley Method of Voice Development. On reading the article I recalled a manuscript which was brought to my office for the purpose of taking the preliminary steps for copyrighting the same. This manuscript was a typewritten treatise on the application of physiological laws relating to voice production. I am permitted to quote a few paragraphs from the introductory chapter, which show something of the nature and scope of the work. The system of voice training presented in this treatise is founded on principles manifested in nature’s law of development. This method—physiologically considered—has distinctive points of value, hirst, in a motive of tone production free from an unnatural or perverted use of voice producing factors Second, in a method of voice action uniform in motive throughout the entire compass of the voice. In the application of this method there is no suggestion of what is termed ‘breaks’ or so called ‘registers’ in the voice. The author has arranged a system of technical practice for the demonstration of this method and has formulated this method of voice culture by combining these with other distinctive features that have proved of practical value.*
“It is not the purpose of this article to give a detailed description of the Bencheley Method, but to call attention to the fact, that points of special advantage relating to the culture of the ־voice mentioned in the article (referred to) are distinctive features of the Bencheley Method, and have been practically demonstrated by the author.”
(Signed) C. J. Traxler.
•Misstatements concerning this method are noted and referred to legal authorities in charge of the interests of the author.
VOICE EXPANSION—FROM SPEECH TO SINGING
Extract from an article written for, and published by the MUSICAL COURIER, JANUARY 25, 1917.
“Considered from the point of view (previously) described automatic voice action is the natural motive in speech. It is also the legitimate motive in development of expansion of the voice as used in singing as differentiated from the arbitrary use of the vocal mechanism by force of will.” (Reprint of this article in full included in copyrighted records of the Bencheley Method of Voice Development.)
BREATH PRESSURE
Extract from “Interviews and Some Other Views” published and distributed by the founder of this method.—DECEMBER, 1918.
“The importance of deep breathing is emphasized by other than vocal consideration. Tone development,
The Bencheley System of Vocal Study
“Previous to the introduction of this system in Brooklyn and New York, no writer on vocal science had descrihed voice development from the point of view advanced by the founder of this method, in articles published in variouf musL cal journals. These articles include an- analysis of voice action whicli prefigures the application of this method—now advertised from its original and legitimate source. —FVnm tL*. Mi,c;׳״>i	—“	" «icivernseci
-Front the Musical Section, New York Tribune, October 29, 1922.
Minneapolis, Minn., 1107 Harmon Place
MARIE BUCKLIN BENCHELEY