MUSICAL COURIER
16
February 15, 1923
bined the best principles of) all the methods. These new classes are to stress technical foundation although not. as divorced from interpretation.
Marionette Concert Company a Success
Caryl Bensel’s Marionette Concert Company is arousing considerable interest because of its appeal to young and old, and it !has found particular favor in communities not often visited by concert or opera companies, in schools, colleges, women’s clubs, private ballrooms, churches, etc. Miss Ben-sel commissioned a prominent artist-architect to design and build in miniature an exact reproduction of a modern stage A performance by the Marionette Concert Company is described by Miss Bensel as follows: “It is time for the concert to begin—chimes ring—the asbestos curtain slowly rises —the footlights are turned on—the inner silk curtains drawn, revealing a smart drawing room—the door opens, and a marionette artist walks on, followed by her accompanist, who takes his place at the grand piano—the artist bows to the applause, and sings her songs—and you hear the human voice—the real instrument. Curtain! The scenery is shifted —and Lo! it is now Madame Butterfly, or perhaps La Gio-conda, Pagliacci, or the Kashmiri Love Story, Jhelum River.”
The Marionette Concert Company made its first New York appearance at the Punch and Judy Theater December 4, and the following day the critic of the Evening Journal stated: “This was most unusual and excellent entertainment ; indeed, so far as the town is concerned, unique. Each is presented with a touch of charm and an edge of humor that are quite absent from the real thing.” According to the Evening Mail:	Clever program . . . novel marionette
entertainment . . . made a recital seem like a fairy story • • • the marionette singing was done by Caryl Bensel and Mary Allen with extremely pleasing effect.” The critic of the Evening World said the illusion was attractive, as was the program.
MUSIC AND PUBLIC EDUCATION
By GEORGE H. GARTLAN
Director of Music in the Public Schools of New York City
THE EVALUATION OF HIGH SCHOOL MUSIC TEACHING
The Study of Universal Training Versus the Specific Methods in General Use
age high school is making heroic efforts in this general direction.
We^ believe that the tendency toward more music instruction for all students is becoming stronger each school term. Have all pupils sing, whether or not they reach vocal perfection! Out of their singing establish a real love for. music and music appreciation ! Encourage as many as possible to study something of the theory and history of music, even though it is accomplished through reading at home, if school time cannot be allowed! In this way no pupil will feel that he is out of music simply because he is not a virtuoso.
It is interesting to note that where sane teaching is substituted for the unproductive “community singing,” a life-long interest in music is established.
Lovettes Entertain for English Artists
Washington, D. C., January 31,—Mr. and Mrs. Thomas S. Lovette gave their fortnightly musicale-tea last Sunday in _ honor of Margaret Lindsey Williams, the English painter, who is in Washington painting the portrait of
Estelle Gray-Lhevinne Wins Huge Audience
On January 29 the Erwin Auditorium was formally opened to the public of Durham, N. C., the attraction being Estelle Gray-Lhevmne. This popular violinist was greeted with a capacity crowd.
The demonstrations of enthusiasm were remarkable. The audience laughed and wept with the varying emotions of the stories she told, and her technical brilliancy was superb and ™ f «ew vitality and a depth which seems to have been added to her former charm. Seldom has violin music, espe-ÏÏ.1	־t1? heavier sort, thrilled a local audience as did
this Gray-Lhevinne recital. The audience would not let her go; she played encore after encore. At last'she responded with some unaccompanied old heart songs. This was the final, supreme touch, and she had to play again and again the well loved songs of our mothers’ days. These came as a i5°?tl;ast, after .the deep classics of the earlier program which had so stirred the enthusiasm and completed the cycle of human appeal.
The recital was a most gratifying success from a box office standpoint and so the Erwin Auditorium management is discussing a return date for another Gray-Lhevinne recital it possible.	g ’
Valentina Crespi Has Many Dates
Valentina Crespi, Italian violinist, and Susie Kirk, her a99°“Pa"1rst> have been very busy this season touring the Middle West under the management of Harry and Arthur Culbertson. Among other places in which they have already played or are engaged to play are Muskegon, Mich • Free-port Peoria Jacksonville and Chicago, 111.; Waverly,’Iowa ; St Joseph Mo.; Blue Earth, Minn.; Dover and Defiance, Ohio, and Monmouth, 111.
1 They have had cordial réceptions wherever they have played, and Miss Crespi says she is learning all about America and is amazed at the culture of the people, even in the smaller places, and their surprising interest in good music From the way Miss Crespi speaks it is evident that the whole tour has been a revelation to her and she is glad that there is “more to come.”
VICTOR
GOLIBART
TENOR
His voice is trained to the last degree of art and his singing is akin to perfection.
Richmond (Va.) Times
Towles Photo Dispatch.
THE L. D. BOGUE CONCERT MANAGEMENT 130 West 42nd Street, New York
John Finnegan’s Engagements
John Finnegan, tenor, filled the following engagements within five days, viz.: February 3, Lancaster, Pa.; 5, Man-Chester; 6, Concord; 7, Nashua, all in New Hampshire; on February 12 he was heard in New York City. The tenor is particularly popular as soloist with choruses, and has appeared many times with German societies.
Grace Kerns in King Olaf Performance
Grace Kerns, soprano, has been engaged for a perform-ance of Carl Busch s King Olaf, under the auspices of the Mt. Carmel, Pa., Aeolian Club, on May 14.
President Harding, having been commissioned by the Pnghsh-speaking Union of Great Britain. Among the several hundred guests present were many prominent in social, art and musical circles. Other out-of-town guests included Luther Lewis of New York and David E. Roberts of Baltimore. The large company was entertained by an informal program given by students of Mr. and Mrs. Lovette, including Lorena Stockton Gawler, soprano, who sang F°rp Amor (Mozart), Che hero costume (Legrenzi) and Ho. Mr. Piper! (Curran); Mary Ruth Matthews, pianist who was heard in Romance (Sibelius) and the Liszt Rhap-sody N°. 15; and Zelma Brown, pianist, whose numbers included the Symphonic Etudes by Liszt. A chorus of Mrs. Lovette’s students also sang several numbers. The program was received with great enthusiasm and much comment was made on the artistic work of those participating
E.
Hazel Gruppe Organizes Glasses in Technic
Special classes are being formed- by Hazel Gruppe for the teaching of piano. For those who are devoting special attention to music there are classes meeting twice weekly, and for those who. work during the day there is a class being held once a week. The advantage of such group work is that one pupil !profits by mistakes others make, and that all become used to playing before an audience. Miss Gruppe has a broad technical basis, she having studied with European masters from widely divergent schools and com-
The question frequently arises as to the practical value of high school music. Judged from a business standpoint perhaps the actual value is low, in proportion to the earning power of the individual. But after all, education should not be confined to the actual earning power of the individual. When we consider that each pupil is entitled to the various cultural inheritances, just as he is entitled to the training for earning capacity, we begin to appreciate just what music means m the life of the average child.
It has often been a point of discussion among educators as to just what type of music should be included in the high school curriculum. Should it be music reading or insistence on appreciation, or technical music (elementary theory, dictation, harmony, etc.) ? No matter what conclusion is reached, one fact is certain, and that is: if music does not function in the daily life of the school it is of no value as far as the individual pupil is concerned. The orchestra, the chorus, the special club, etc., are important only insofar as they influence the life of the individual student. This may be difficult for some teachers to understand, but it is true, nevertheless.
Music Study as Generally Understood.
When we consider the musical life of the average high school pupil we are compelled to admit that if judged by results, the composite is not convincing. Pupils, as a rule graduate from high school with honors in mathematics science, logic, etc.! How many of these honor students f.Xer, s ,?y *pe. results of this “marvelous” training in later life? What about their music? They perhaps do not show unusual brilliance in music, but as they develop in the social scheme they become lovers of opera, devotees of the symphony concert, and intelligent listeners to the mechanical reproduction of music.
Weaknesses in the Modern High School.
A great many of our modern high school systems are stressing the point of elective music to the detriment of the mass of willing but unprepared students. Musical records for high school students are being made by the minority. !We refer here to the small percentage of pupils who elect music in the majority of high schools. While exceptional records are made in these classes, the number of students reached is so small as to raise the issue of practical value. The importance placed upon the average high school orchestra or glee club is distracting public attention from the great student majority which is not being considered in the present musical scheme.
Suggestions for General Betterment.
While we would not for a moment underrate the importance of such specialized work, we cannot but speculate on the future of musical education in the high school If we place over-emphasis on the orchestra and glee club it may be a few years before the negligible results will be evident; but evident they will be if we continue this intensive training over a period of years. What we need is more musical training for the majority. This training must obviously be accomplished through vocal practise for all.
Arguments against the vocal ability of high school pupils while true to a certain extent, are not important enough to overbalance the good which accrues as a result of concerted teaching. The high school should endeavor to reach all pupils, and not the selected few who no doubt would be exceptional students in spite of their school training.
The Orchestra and Glee Club.
Up to the present these organizations have been considered as accessories to the high school, rather than a consistent part of the school itself. In some cities strong insistence has been made in recognition of such clubs, as recognized high school organizations. In some localities membership in musical organizations has been recognized as equivalent (not in advance of, be it understood) to membership in football, baseball and track team organizations. Indeed, civilization is progressing even in educational circles. But it will take a long time for some people to see the usefulness of music as an aid to home culture. All the power of science cannot aid in bringing proper music into the homes, unless the children of families are educated to a proper understanding of appreciation. The aver-
OPRANO
Metropolitan Opera Company
Exclusive Management:
HAENSEL & JONES
New York City
Aeolian Hall
Mary Mellish
TOPTONES FOR TENORS
ALSO FOR
SOPRANO ALTO BARITONE-BASSES
FREDERIC
FREEMANTEL
Telephone Columbus 1405
Vocal Teacher Auditions and Consultations by Appointment Only
50 West 67th Street