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February 15, 1923
be a pity, if, among the large number of musicians, there were not at least a few of such manifold and exceptional talent who can inspire enthusiasm by their playing. If only the extraordinarily gifted were entitled to practice professionally, all our conservatories and music schools would be compelled to close, and all instructors to give up teaching, for. in such a case a very small institute would suffice for the entire world.
To make musical instruction interesting has always been a problem for the teacher. However, the student tires most frequently because of technical obstacles, and often abandons his studies entirely, discouraged by slow progress, and his inability to cope with technical difficulties. And yet this condition may be easily remedied by passive and resistive exercises, simple massage, etc.
Last, but not least, almost all affectations and injuries of the hand and arm can ׳be traced directly to weak expansor and extensor muscles, which, in an untrained state are incapable of prolonged resistance. It is, therefore, a great injustice to hold the teacher responsible for every overplayed hand, since it is possible to overstrain the hand with the best of methods, because the weak, undeveloped muscles are easily overtaxed. The student with an exceptionally favorably constituted arm and hand can, perhaps, dispense with further training. But it would be a crime to leave the gifted student with arm and hand less advantageously constituted, to his fate.
The study of mankind has taught us that only rational cultivation and care can lead to further evolution in organic life Therefore the artist who wishes to reach the heights of his profession should pay close attention to his physical development. And such musicians who make no attempt to perfect their hands, although these are indispensable to the carrying out of their musical ideals, are committing a great
National Opera Club Meets
Baroness. Katharine von Klenner, founder ׳and president of the National Opera Club of America, officiated over a large gathering of supporters, guests and friends at the monthly meeting of February 8, Astor Gallery, New York The musical program included baritone solos sung by Henry Rabke, formerly of the British National Opera Company, including Schumann’s The Two Grenadiers, sung with climax; Marie and Bitte (Franz), and Verachtet Mir die Meister Nicht (Meistersinger), in all of which he showed a big voice of color and expression, allied with distinct articulation. Mortimer Browning played his accompani-ments in first-rate fashion. The operalog, Tannhäuser, was given by Havrah Hubbard, with Edgar Bowman at the piano.
Announcements ,by President von Klenner included calling attention to the annual concert !and dance of the Club Choral (mixed voices), under Conductor Sapio, February 19; Leila Ireland Gardner is chairman of this affair. She mentioned the last operalog given at the club, Anima Allegra, performed at the Metropolitan Opera House February 14, in which her former pupil, Katharine Howard, was heard in the leading contralto role; called attention to the benefit entertainment and bridge February 23, and read a letter from Mrs. Dunnell, enclosing a check to pay for the American Musical Encyclopedia, to be given to a club in Washington, that lady •rising to the applause. She also called particular attention to the very complete report in the Musical Courier of the club s last Russian Evening, and said every member should buy a copy. She asked Mr. and Mrs. Charles Watts, of Chicago (musical editors), to rise, and Katharine Noack-l^*d dea° a re^°r*’ anecdotes, which was much ap-
Swarthmore School Presents Spiering
Swarthmore, Pa., January 19.—Theodore Spiering was most enthusiastically received at the Swarthmore School of Music on January 12. His equisite rendering of the Bach chaconne called forth much comment.. The Saint-Saëns concerto was followed by The Prelude and Allegro (Paga-nim-Kreisler), Slavonic Dance (Dvorâk-Kreisler) and berenite (Vieuxtemps). A brilliant execution of the Tschai-y Valse Scherzo called forth three pleasing encores, the Swarthmore School of Music has inaugurated two new departments ; flute instruction is to be given by William Kincaid and cello instruction by Michael Penak. Both are members of the Philadelphia Symphony Orchestra.
T. F.
Harold Land Especially Engaged.
Harold Land, baritone, was engaged by Dr. William C YarI ?2« the baritone part in the oratorio St. Paul, at the Old First Presbyterian Church, New York, January 28 tie has been baritone soloist at St. Thomas’ P. E. Church New York for eight years, and his voice is broadcasted every Sunday morning through WJZ. Word has been received of his fine success with the Newburgh Oratorio Society, m The Messiah, January 21. His song recital in Yonkers, January 25, was a delightful affair, the assisting artists being DeNike, cellist, and Dr. T. Tertius Noble (organist of St. Thomas’) as accompanist.
Duluth Glee Club Honors Marie Zendt
At a reception given Marie Sidenius Zendt after her first appearance recently with the Duluth Glee Club at Duluth (Minn.), the club voted unanimously to make her an honorary member, Mme. Julia Claussen having been given the same honor previously. Mrs. Zendt was the soloist with the Central Trust Bank Glee Club at Glencoe (111.), January 18, under the auspices of the Glencoe Masonic Lodge. January 25, she gave a recital at Cicero High School Auditorium, Cicero (111.).
Middleton on Solidly Booked Tour
Arthur Middleton, who appeared in the West on a solidly booked concert tour in January, continues his singing activities through February without interruption. His appearances included a performance in Indianola, Iowa, on Lincoln s Birthday, the town in which as a boy he went to college.
Grace Kerns in Mercersburg Recital
Grace Kerns sang in Mercersburg, Pa., Thursday, Feb-ruary 6. The artist gave a program of operatic arias and songs, such as have distinguished her recitals in the past.
MUSICAL COURIER
HAND-TRAINING
The Healthy Hand, Its Cultivation and Development By Woldemar Schnee
Copyrighted, 1923, by The Musical Courier Company.
middle portion of the hand. This can be accomplished by resistive exercises, carefully designed to meet the existing requirements. It has been physiologically determined that specially adapted resistive exercises can do more to enhance the strength of these muscles than incessant practice upon the different instruments.
3.	That the development of the extensor muscles of the fingers and hand is of the greatest importance to the player. The independence of the fingers is determined solely by the power and isolated development of the individual extensor muscles. Without well trained extensor muscles the “jeu perlé” is an impossibility. For this purpose the training also offers definite resistive exercises.
4.	That properly administered, passive, circular movements will noticeably improve the pliability of both wrist and knuckles.
It is most unwise to attempt the difficulties of instrumental music without any preliminary preparation. Particularly piano, violin and violoncello technic make the greatest demands on our hands. Even the finished artist can attain a greater perfection, and solve the most difficult technical problems more easily with a hand that is well trained than with one that is not._ This, however, does not mean that technical proficiency is entirely dependent upon the condition of the hand. It is determined no less by a particular predisposition, having its seat in the brain, and resulting from a special arrangement and structure of the brain-cells. Moreover, correct instruction is of invaluable importance to teach the most efficient utilization of the muscles of arm hand, and fingers.
But even the most favorable predisposition of the brain, and the_ best musical instruction, can achieve no finished result, if our playing-mechanism does not function per-fectly, ana (possibly without our ׳conscious knowledge), presents obstacles to the intentions of our will, the overcoming of which may prove very difficult.
The opponents of innovations in technical instruction mention such names as Liszt, Rubinstein, Paganini, Sara-sate, Popper, _ Kreisler, etc., and call attention to the fact that these artists reached the heights of technical proficiency without the aid of any hand-training. It would, indeed,
It is a sign of ignorance and narrow-mindedness to assume that mankind has reached the ultimate limit of mental and physical development. Every student of nature knows that almost everything pertaining to man not only needs, but also is capable of improvement, and no member so much as the human hand. The eminent English physician, W. S. Forbes, even claims that the binding of the fourth finger to the fifth and third is only an imperfection inherited from our animal ancestors.
Although the brain is the center of our organic life, and governs our will and actions, the hand performs the indispensable role of executor for the impulses of the will proceeding from the, brain, and as such may be said to have an almost equal importance. Just as the brain may be logically and scientifically cultivated, the hand may also be perfected by a rational training. In fact, I have proved that ׳by a special series of resistive exercises for the extensor muscle of the fourth finger, this finger attains a greater independence. It is obvious that every method of technical instruction will prove more successful in proportion to an increase in the pliability of the joints, the strength of the muscles, and the expansion of the hand.
When I first explained my hand-training to Joachim, and, at his request, addressed the teachers of the Royal Academy, he remarked, “I am delighted that you for one do not propose a new method or system. To my mind your training is merely a procedure which fits the hand for every method and every system.” And truly, this remarkable musician, equally pre-eminent as violinist, teacher and man, judged correctly.
The following four points can be proved with absolute certainty:
1.	That the stretch between the separate fingers, as well as between the thumb and the fifth finger, can be increased by 8:16mm., according to the size of the hand, and this, furthermore, without the slightest harmful effect. However, I must emphatically warn against the use of machines and corks for this purpose. By a properly executed stretching of the webs between the fingers greater elasticity and pliability result.
2. That it is of the utmost importance to strengthen the small, weak muscles situated in the
The Return of Novaes
A large audience greeted the famous Brazilian pianist in her first New York recital since April, 1921
Aeolian Hall
January 23rd
It was a reading such as the most famous pianist now before the public might have envied.—W. J. Henderson in Herald.
She had a large audience, of course, for such treats as she gives are not easily forgotten. She is one of those rare artists who forget their hearers in the intense absorption of the music. In this, as in other ways, she resembles Paderewski.—H. T. Finck in Evening Post.
She has a beautiful touch upon the instrument, a fine and sensitive feeling for the values and beauties of tone.—Richard Aldrich in N. Y. Times.
She makes a lovely figure at the piano, unobtrusive, and occupied only with producing lovely music, and more purely sensuous sounds one could not ask for.—Frank Warren in Evening World.
Management: LOUDON CHARLTON Carnegie Hall New York
Steinway Piano