January 18, 1923
48
Belass Photo	RUTH KLUG
people relegate that to those who have talent—or think they have.”
A Remedy Suggested.
“Have you any particular remedy in mind?”
“There ought to be more chamber music played at home, as you find it in Europe. There not only do the great artists get together for ensemble work, but also students and those who are professedly amateurs. In other words, what we need is more non-professional ensemble playing. There is a man on Staten Island who has a wonderful chamber music library and very often he invites groups of students and amateurs out to his home for a happy day spent playing over this, music. He is the only one I know of here, but in Germany that is quite the general custom.
“That is one of the things which makes up this intangible something which, for lack of a better word, we call atmosphere. In the_ ordinary homes, abroad, one finds excellent musical libraries, and people use them; they’re not just there for show. Here we are very apt to let the phonograph and_ the reproducing piano do all that for us. It is not so important how much better one plays than another as it is to play.
“There is no reason why we cannot have this atmosphere here, and I do think it will come with the acceptance of music as a tremendous factor in our lives, instead of the casual pastime it is now rated.”
School Work of Great Advantage.
“Don’t you think our schools are doing excellent work in ־ that direction?”
“The idea of working through the school is wonderful and I am sure jt will bring music closer to the home. I also think that the organizing of school and civic orchestras is splendid and it is an idea that I hope will spread, but I still maintain that the musical hope of the country lies with the students and amateurs.
“Another way in which I think we can improve would be through the raising of the standard of programs. By that I do not mean whole programs of Beethoven. Neither do I mean long programs. The ideal would be shorter programs, carefully worked out and consisting of preeminently worth while works.
“And the same idea should be worked out regarding talking machine records. It should not be merely a selling of the artist’s name, regardless of what the artist chooses to sing.
“Please don’t think that I am belittling the power of personality. I recognize that as long as there is human intercourse there must be personality. But just because one has a fine personality is no excuse for making it the vehicle for inferior works.”
American Students Abroad.
“I’m afraid you don’t like us much any more!”
“It is not a question of liking, for I am an American, and because I am, I can say things we don’t like to hear the outsiders say. But just let me tell you that the Germans are getting the biggest surprise of their lives now at the splendid talent of the young Americans who are coming over and studying. You see, Europe does not know what tremendous strides we are making musically.
“Please do not misunderstand me! I do not take up any brief for Germany at all. As a matter of fact, I think that German art is declining. Germany has a tremendous musical tradition, and yet in Berlin, which was formerly the music center, the interest of the people is being attracted to other_ things and they are becoming commercial and industrial—a condition which they should not accept.
“Of course, these are all just my personal opinions. And before we part there is one thing I would like to say regarding the American artist, and that is, to commend his generosity. There is far less professional jealousy here than in Europe. I really do think so. The only time that the European artist loses that sense of rivalry is when he is one of an ensemble.”	H. R p
Program Announced for Morning Choral
The Morning Choral announces a musicale-dansant to be given at the Hotel Astor the afternoon of January 20. Kathryn Platt Gunn, violinist; Isabel Franklin, soprano; Joseph Mezo, monologist and humorist, and Minabe’l Hunt, accompanist, will appear in a most interesting program, on which will be featured three Mexican songs by Frank La Forge. The entertainment will be followed by dancing.
MUSICAL COURIER
RUTH KLUG PLEADS FOR A HIGHER PROGRAM STANDARD
Having Recently Returned from Abroad, She Finds German Art Declining—A Strong Advocate of Non-Professional
Chamber Music Work
for while it may be decidedly different, who shall say that their art may not be as old as that of Europe? Those Europeans who settled this country were not exactly savages. Instead, they possessed the European heritage and culture and tradition.
“Oh I know that most people say that the industrial growth of the country has caused the artistic growth to suffer. I very much doubt whether that is the real cause. There has been a tremendous industrial development in Sweden, Norway and Denmark, but still Germany looks up to their art, and there is a wide interchange of ideas between the universities of those countries and Germany.
I think the real trouble lies in the way the general public regards music—something to play with, a mere pastime, something that is very nice for women but hardly the thing for men to do. Instead of being put into the category of a sport, music should be a real part of our intellectual life. It is not a thing for odd moments—something to be sandwiched in between a ball and an afternoon tea. Cer-tainly, it is not effeminate, but is big enough and virile enough to offer tremendous interest to everybody—men and women alike. After all, it seems to me that our esthetic life is, in a great measure, our psychological life.”■
“And what about American talent?”
More Talent in America.
“I believe that there is more talent in America than there is perhaps in any other place in the world. Excellent talent it is, too. It has been especially noticeable of late, for Europe has been overrun with American students whose musical talent is tremendous, but whose musical education is sadly lacking. A large number of them have been practically youngsters, but the mere fact of age bothers them not at all. Many of them come alone, with a courage born of earnest conviction, and they stumble along for a while until they find their particular niche and their talent begins to shine forth.
. “That is one wonderful thing about America—its ambitions and enthusiasms, the confidence in itself and the feeling it inspires in others that, once started, nothing can swerve it from its objective. And this applies not only to the country, but also to its inhabitants.”
Lack of Musical Education.
“You spoke of a lack of musical education.”
“Exactly. The average American studies the piano, or the violin, or the voice, or composition, but seldom is this list of studies joined with the word ‘and.’ The ambition the intensity is there, but there is a lack of thoroughness’ Now the average European, of the same age, same general station in life—in other words a parallel case—may not have the same talent, but he has enjoyed a well rounded and thorough musical education. They do not play with the idea of a debut and a concert tour at the end of the study. It is a means rather than an end, and for them study never ends.
“I have noticed this particularly in Germany. There every one knows about music—not simply those who have manifested a real talent in its direction, as it is here. They know musical literature. They go to concerts with that in mind rather than for the purpose of hearing a special artist. Here, there is a mad rush to hear artists; there, it is a desire to hear the works on the program which attracts. In New York there is a tremendous concert audience, made up of two elements; there is the average audience, composed of people who make it a habit to go to concerts (you will always see them) and then there is the general audience, consisting of those who only go occasionally and then to hear some particular artist. In Germany, everybody goes to concerts—but not to every concert. They use discrimination in their choice.
Another thing which helps in the creation of musical atmosphere abroad is the general participation of every one in musical matters. While in America the people carry out their idea by watching football, baseball and other games, in Germany they get together and play the games themselves. It seems to me they take up things with more intensity there. If one does not play well that does not hinder his playing. He plays just the same and studies musical literature. Here, instead of studying themselves
Ruth Klug had just returned from Germany, where she had been studying industriously and appearing successfully, and I was curious to know what her reaction would be. Would she be like a certain young friend of mine of some twelve summers, who confided to me that the very first thing she did when she came back to America was to take in a whole set of moving picture shows?
“Why the movies?” I questioned, sympathetically, remembering a similar experience of my own when good American ice cream sundaes were the objective.
“They wouldn’t let us children go to the movies over there,” solved the mystery.
But Ruth Klug evidently had no hankerings after such little tin gods, to judge from her occupation when we met. It was James Harvey Robinson’s The Mind in the Making that she was reading, and she admitted that she was “terribly interested in it.”
“I am reminded of H. G. Wells’ The Secret Places of the Heart, which is a favorite of mine,” she continued. “I have always been fond of reading, but I never seemed to accomplish much until my stay in Germany, when I read a great deal.”
Glad to be Back Again.
“How does it feel to be back in these good old States again ?”
“Very good, I can tell you, and I am so pleased and proud of our country and the way it is growing, musically speaking. Even in the short time I have been away I can see a change in the musical atmosphere. There is more interest displayed. Why I noticed not long ago that at the Capitol Theater the Heldenleben was played—and not only played, but enjoyed! That fact speaks for itself.
“America talks about being ‘young in art.’ Perhaps the Indians are, although even that is a matter of controversy,
“THE DIFFERENCE"
(See Musical Courier, December 21, 1922, page 53.)
Apparently the gentlemen mentioned in this report of a discussion concerning vocal methods are not aware that they are considering features of special importance in voice training identified with the original teaching of the Bencheley System of Vocal Study, by the founder of this innovation, in technical practice—physiologically considered.
From references to the contents of the books mentioned the undersigned has reason׳ to judge of the nature of the contents of one of the books mentioned.
Apropos the statement concerning "Interference,” a quotation from a Bencheley Record, published and distributed some years ago, reads as follows: "The motive of tone production as described (one of the integrant findings of this method) is unhampered (free from) by coercive interference of vocal factors which more completely energize the developed singing voice.” Another paragraph reads:	"Breath
pressure as required to sustain the developed singing voice, stimulates the action of energizing vocal muscles which should remain relatively passive in the process which insures unimpeded vocal resonance and unhampered development of tonal beauty.”
The attention of the Musical Courier readers is directed to an article by Charles J. Traxler, Minneapolis attorney (See Musical Courier of January 4), which gives information׳ concerning this method. This article was published in the Minneapolis Times, February 25, 1897. The (forthcoming) article by Dr. E. T. Gibson, Minneapolis specialist, published in the Minneapolis Times. March 2, 1897, also gives important information concerning the method.
As devised and formulated by the author, this method includes a systematized and exact system of pianissimo technical practice in physiological accordance with the basic truths of vocal science. Vocal science is a distinct branch of vocal study, continuity of which should remain uninterrupted during the process which assures certainty of technical voice control.
This system of technical practice as described by the author is attracting the attention׳ of foreign musicians as indicated by further communications from London—addressed: The Bencheley System of Vocal Study. Devised and formulated for personal use—this method was not advertised by the author until notification׳ of the (alleged) appropriation and use without public acknowledgment of the source from which knowledge of the method was obtained.
Listed in "The International Who’s Who in Music” under its legitimate title, this method is now advertised from its original and legitimate source.
*Misstatements concerning the method are noted and referred to legal authorities in charge of the interests of the founder of this vocal method.
Marie B. Bencheley.
1107 Harmon Place, Minneapolis, Minn.
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NEW PIANO MUSIC
LEOPOLD GODOWSKY—Moment Musical (Schubert)..............
EMERSON WHITHORNE—New York Days and Nights
On the Ferry (in press)..................................
Chimes of Saint Patrick’s...........................
Pell Street ......................................!.!!!..!!.
A Greenwich Village Tragedy (in press)................!!!!!
Times Square .........................................
ED. POLDINI—Au Chateau de Cartes (The House of Cards),.Le Roi (The King)
Serenade a la Dame de Coeur (Serenade of the Queen of Hearts).
Danse des Valets (Dance of the Jacks).........................
NEW VOCAL, MUSIC
SOL ALBERTI—The Hour, Med. in E................................
Trees, High in C.........................................
WERNER JOSTEN—The Discreet Nightingale, High in Eb............ ’
Christmas, High or Med. in D............................
B. SHERMAN FOWLER—My Forget-Me-Not, High in Bb, Med. in F. . . . .
ROLAND FARLEY—Wind Flowers, Med. in Bb.........................
DAN ATWOOD—Dawn of Tomorrow, High in D.......................’ ’
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NEW VIOLIN MUSIC
A. WALTER KRAMER—Symphonic Rhapsody.........
Entr’acte .............................
RICHARD CZERWONKY—Memories .................
JOSEF BORISSOFF—Bachcisaray (Crimean Rhapsody)
Impromptu .............................
Romance sans Paroles ..................
FELIX WINTERNITZ—Badinage ..................
CLARENCE CAMERON WHITE—Twilight.............
Caprice ...............................
Serenade .........................\....
Valse Coquette ........................
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