29
WHEN IN BERLIN
please register at the office of the Musical Courier, Schilling Strasse 9, so that our correspondents throughout Europe can be of service and assistance to you wherever you may sing or play, or just visit.
February 8, 1923	MUSICAL COURIER
THE ONDRIGEK SCHOOL OF VIOLIN ART
will subsequently build. The Ondricek School recognizes this in affording opportunity for the best elementary education possible. Attention• has been given to the theoretical side of music in the course of study offered. There are classes in Theory, Harmony and Solfeggio, which is of special importance. Piano is also included, since a knowledge of that instrument is essential to any well-rounded musical education. Special pupils’ recitals are given monthly as well as two public concerts a year. Mr. Ondricek follows the practice of the European schools in having pupils play their lessons before the other students. This is not to be confused with ordinary class work. The lessons are indi-
Suzanne Keener at Westminster College
It was a happy choice on the part of Per Nielsen, baritone and director of the music department at Westminster College, New Wilmington, Pa., to present charming Suzanne Keener as the last attraction in his artist course for the season. This gifted young coloratura soprano of the Metropolitan Opera Company duplicated at this recital the splendid impression she has made everywhere on tour. Her program , was a varied one and a large and appreciative audience• appeared thoroughly to enjoy each number Accompanied by Vera Eakin at the piano, she was heard in the Constanze Ana from Entfuhrung, Mozart; Voci di Primavera, Strauss; Theme and Variations, Proch • The Wind’s in the South, John Prindle Scott; Bobolink and Chicadee, Vito Carnevau, written for and dedicated to Miss Keener; There Are Fairies at the Bottom of Our Garden, Liza Lehmann; When I Was Seventeen, Swedish Folk Song; Regnava nel Silenzio, from Lucia, Donizetti. Miss Keener possesses a voice of exceptional beauty and she uses it with intelligence. Her high notes are brilliant, and in the Proch Theme and Variations she tosses off the runs and trills with the utmost ease. Clear enunciation is another one of this young singer’s assets. In addition to being well equipped vocally, Miss Keener has a fine stage presence and creates a favorable impression immediately upon her entrance on the platform.
Lyell Barber Leaves for Tour
. Lyell Barber, pianist, is busy on tour in the Middle West, appearing m the following cities: February 1 Ripon College, Wis.; 5, Pontiac, 111.; 7, Eureka College, 111.; 11 Chicago (recital); IS, Bloomington, 111.; 18, Bloomington, ill. (second appearance). The first Bloomington date is under the auspices of the Amateur Musical Club in its regular season; the second one, on February 18, is a special concert, open to the public.
At his Chicago recital, at the Studebaker Theater, under the direction of F. Wight Neumann, Mr. Barber will introduce a very beautiful prelude by Edward Harris, which is dedicated to him and which will be played for the first time.
Clara Deeks Has Busy Week
Clara Deeks, lyric soprano, during one week appeared i Louisville, Nashville, Wheeling and Williamsburg an won the enthusiastic appreciation of the local critics.
EMANUEL ONDRICEK
vidual, to which the other students have the opportunity of listening, in order to train their imagination, judgment, and critical faculties by hearing faults corrected and good points appreciated.
The Certificate of Graduation.
When students have completed three years in the elementary and intermediate departments, and at least one year in the upper school, they are entitled to a certificate of graduation. Those who intend to devote themselves to an artistic career or to teaching study three more years under Mr. Ondricek’s personal supervision. Upon completing the work to his satisfaction they are awarded a special diploma.
Mr. Ondricek has gained sincere friends among such artists as De Pachmann, Pugno, Siloti, Rimsky-Korsakoff, Cui, Sapelnikoff, Ivanoff, Dvorak, Suk, Auer, Kreisler and Ysaye, all of whom have praised his understanding of musical art. He was decorated by Czar Nicholas, Peter of Serbia and the Roumanian Queen (Carmen Sylva). He has also received official recognition in England. Mr. Ondricek contemplates a return to the concert platform, accepting such engagements as will not conflict with his interest in teaching.	j q
CECIL ARDEN
Metropolitan Opera Artist
features with great success:
THE TIME OF PARTING
By Henry Hadley
MORENITA
By A. Buzzi-Peccia
CARL FISCHER NEW YORK Boylsto□ St. BOSTON S. Wa3b°ash Avt. CHICAGO
MISS JANE CATHCART
President of the Washington Heights Musical Club
Announces her removal to her new studio at the
Rodin Studios
200 West 57th Street, New York
Telephone Circle 3$bO
Ihe Ondricek School of Violin Art, which has flourished for some years in Boston and is about to open a branch in Carnegie Hall, New York, is an American school founded on the principles of the European conservatories. It is a private institution modeled after the violin department of the Conservatory of Prague, which is one of the oldest Sc■0uSi°^ Europe. The value of a rich tradition like that which the Ondricek School aims to carry on cannot be overestimated, for students who find themselves in a musical atmosphere, and in authoritative hands, soon attain the power of expression and creation of their own accord. Great stress is laid on individual teaching, the effort of each student being guided according to his intellect and capabilities.
Technical Training.
Another point which the school strongly emphasizes is the technical training of the students, because it is only through a mastery of technic that artistic expression can be obtained. In an interview with a representative of the Musical Courier, Mr. Ondricek said:
“Many teachers make the mistake of trying to teach expression and musicianship before their pupils have acquired a sound technical foundation. It is inevitable that under these conditions the unfortunate victims who lack ability to handle their instruments should struggle helplessly without result. Many talented students realize how this or that musical phrase should sound ; they hear it in their imagination, and feel it in their souls, but when they try to express themselves, the result is an awful medley of rosin, bow-hair, scratches and false notes. The .trouble is that a command of the fingerboard has not been attained, and the bow is a club in their hands, because tone production, with its many varieties of intricate bowing, is totally unknown to them.
“If students are insufficiently prepared technically in both right and left hands, it is a blunder to try to teach interpretation and musicianship. It is only when facility is attained that the opportunity has come, and it should be made the most of, to develop expression and style and to give the students all_ the secrets that lead to mastery in their profession. It is equally unjustifiable to bring out a pupil who has mastered only technic, and who has neglected the musical side of playing, which is, after all, thè goal he set out to reach. Both _ are inseparable elements of the same art,_ and cannot exist independently. Moscheles, the famous pianist, said : ’Through the fingers only can the soul speak,’ and the celebrated teacher, Auer, has put it more tersely: ‘Art starts where technic ends.’ There can be no disagreement among artists in regard to this.
“The Ondricek School is built upon these principles, generally recognized as the basis upon which European musical institutions are founded, and whose soundness has’ been proved beyond any doubt by the talent which they have brought to the highest development.”
Emanuel Ondricek.
Emanuel Ondricek himself is an artist of the first rank. He was born in Prague, Czechoslovakia, and belongs to a family of noted violinists. His father was a fine musician, and four of his sons became distinguished artists. Emanuel entered the Conservatory at Prague, where he made such rapid progress that he was graduated at the age of seventeen as the winner of the first prize. He toured through Europe, playing in the principal cities, and appeared as soloist under such famous conductors as Hans Richter, Carl Zumpe, Sir Henry Wood, Alexander Siloti, and others. Although a pupil of the celebrated pedagogue, Sevcik, he inclined to the grander style represented by his brother Franz, a pupil of Massari His ideas follow those of the modern violin schools represented by Ysaye, Auer and Kreisler.
Mr. Ondricek came to America in 1912 and played in Boston, New York and other cities, but had to abandon concert work on account of ill health. In the meantime he established a studio in Boston, and brought out a number of excellent pupils who demonstrated his artistic ideas. Among his foremost pupils are the Russian violinist, Ella Kallova ; Bernhardt Sinsheimer. leader of the Sinsheimer Quartet of New^ York; Mary Haywood, the English violinist, and, in his Boston classes, Marjorie Pierce, Edith Roubound, Walter Schulce and others.
The Faculty.
• Mr. Ondricek acts as director and as head of the advanced department. Students in the preparatory and intermediate grades are instructed under his supervision by an authoritative faculty whom he has carefully selected. This faculty includes Marjorie Pierce, Edith Roubound, Gladys Posselt, Carl Leitner and Walter Schulce.
Miss Pierce is in charge of the elementary and intermediate departments. She has appeared at numerous concerts in Boston and won critical praise of a high order after her appearance in Jordan Hall two seasons ago. Miss Pierce is the teacher of Ruth Posselt, the child violinist.
Miss Roubound, who is in charge of the elementary department. has been heard in concerts at Svmphony Hall, the Boston Opera House and at Tremont Temóle. She was soloist at the festival given in Boston and Worcester two years ago by the United Swedish Choral Society. Besides her work as a concert artist. Miss Roubound is interested in chamber music and is leader of a trio.
Miss Posselt, who, with Mr. Leitner, supervises the piano, harmony, theory, solfeggio and ensemble departments in the Ondricek School, studied with Messrs. Whelpley, Fael-ten, DeVoto and Mason. She has been heard in concert as a soloist and accompanist and as pianist for the Boston Trio. Mr. Leitner was born in Prague and received his musical education at the Prague Conservatory. He studied piano under Professor Tiranek, a pupil of Smetana, and composition with Anton Dvorak. Mr. Leitner has appeared in concert both as soloist and accompanist and was formerly accompanist and co-repetitor with the Metropolitan Opera Co.
Mr. Schulce is a member of the teaching staff in the intermediate department and plavs in the school auartet.
He won the scholarship which Mr. Ondricek offered some vears ago to an American boy or girl who showed promising talent, and has been heard in New England, both as a soloist and conductor.
Laying the Foundation.
The_ most important period in a musical education is that in which the student lays the foundation upon which he