43
MUSICAL COURIER
April 12, 1923
Photo by Mishima Studio, Boston.
LAURA
LITTLEFIELD
BOSTON’S LEADING SOPRANO
Writes as follows of the
PIANO
--ф-
A large part of the joy in my work comes from the great pleasure and satisfaction which I find in my Mason & Hamlin Piano. It fulfills every need as an accompanying instrument; and gives me just the color which each song calls for.
In my estimation, the Mason & Hamlin Piano, in its durable beauty of tone and rich sonority, is eminently the best.
(Signed) Laura Littlefield
is even now being heard. America can teach the old countries much, when they can be induced to listen to us.
A Foreign Language.
“Do you consider it necessary to have songs in a foreign language on a program in order to insure the success of the singer? Does a group of French, German or Italian songs please an audience more than all English? This is a question that is causing much discussion in our set of musicians who are appearing in public and who wish to do the best possible for themselves. Do foreigners appearing here put an English group in their programs; if not, why should we?”
Putting a group of songs in a foreign language on a program depends entirely upon whether the singer can sing in that language. The pronunciation of words in singing, commonly called diction, is a matter of such importance that it is surprising so little attention is paid to it in many cases. English is so often badly pronounced that it may be any other of several languages for all the audience can judge. Because it is one’s native tongue, it is taken for granted it will not be necessary to study pronunciation. Never was a greater mistake made. The listener does not want to have his or her interest or pleasure disturbed by having to take the attention from the song by wondering what language is being used. In the case of one well known foreign singer heard recently, it was quite impossible to tell what she was singing until she came to a song in English, for which she had been specially coached in the diction; that was so perfect that the words were, every one of them, distinct, and this song made the success of the recital. She would probably be surprised to have , this told her, but it is true. How many who sing French or German, or perhaps Italian (which is easier of pronunciation) are able to “speak” the language. Mme. Nordica knew whatever language she used in singing so well that she could speak it, one might say, perfectly and was “at home” in it. But she was a very serious, painstaking artist. If you know how to pronounce any foreign language with a good accent, by all means put the songs on your program; otherwise stick to English. The story of the young San Franciscan making his first visit to Paris, who, when asked how he got along in making himself understood, said “I have no difficulty—I carry a dictionary—when my wife wants to go to her dressmaker, I look in the dictionary and say ‘Cokker, fiakker, PackwinV* He was satisfied he made no mistake in “Cocher, fiacre, Paquin,” and that is the way the French of some singers sounds.
Eugene Plotnikoff in Demand
Eugene Plotnikoff, conductor, composer and coach, of the former Imperial Theaters of Moscow and Petrograd, as well as at the Paris Opera House, though in New York
EUGENE PLOTNIKOFF
only a brief time, has already attained a position commensurate with his abilities. Friend and artistic confrere of Chaliapin and other eminent opera artists, he made himself known here (but in truly modest fashion, for that is his character), and at once found himself in demand. Appearances as pianist and conductor have been frequent, among such being two Russian composers’ programs, for the Newark radio; also for the WEAF radio, New York; for the National Opera Club, Waldorf-Astoria ballroom concert; Guild Hall, St. Thomas Church, auspices of the Young Men’s Club, etc. At all of these he won honors, for he is a pianist and conductor of acknowledged merit. Together with Helene Romanoff, Russian dramatic soprano, he has established a vocal studio for voice training, coaching and languages which is affiliated with Ivan Tarasoff, the well known Russian professor of the terpsichorean art. It is safe to predict Mr. Plotnikoff is only at the outset of a distinguished career in America.
Matzenauer, “Daughter of the Gods in Song”
Margaret Matzenauer appeared as soloist with the St. Louis Symphony Orchestra on March 2 and 3, singing the Rienzi recitative and aria, Gerechter Gott, and Brünnhilde’s Immolation Scene from Götterdämmerung and several encores. According to the critic of the St. Louis Star, “The cantabile passages of the aria were sung with beauty and richness of tone and flexibility of utterance. Her great interpretive powers and the fiery and dramatic quality of her voice were supremely evident in the Immolation Scene.” The St. Louis Daily Globe-Democrat was of the opinion that the singer was in superb voice and sang with ease and the manifestation of inexhaustible reserve power.” One of the comments in the St. Louis Post-Dispatch was to the effect that “her voice displayed her golden tones at their best.” Harry Burke waxed enthusiastic in his well known St. Louis column notes:	“Matzenauer was—Matzenauer.
A daughter of the gods in song. Her voice a glorious instrument upon which a master played in its colorful blendings with the orchestra picture.”
Marie Novello at Fredonia, N. Y.
Marie Novello, the Welsh pianist, will give a recital in Fredonia, N. Y., on April 19.
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
Which Is Easier?
“If you were about to take up the study of music, which of the two would you prefer? To learn to sing, or to play an instrument, say piano or violin? I can have lessons in whatever branch I prefer, but do not want to make a profession of music—just would like to know enough to amuse myself and entertain my friends. Nor do I wish to have to study very hard. Is piano easier than violin? How long do singers study?”
Your idea of being any sort of a musician without hard study is not practical. It would take several years of work to become a singer sufficiently trained to entertain your friends, that is if your friends have any knowledge of the art. There would be fewer hours each day spent in learning singing than to master any instrument, for a singer can only practice a certain length of time each day, quite different from an instrumentalist, who often practices six or eight hours out of the twenty-four. Vocal teachers frequently limit the time devoted to singing exercises to about one hour a day, and even that not all at one sitting. Pianists and violinists practice practically all the time, eight hours not being considered too much of the day to devote to their work. Why not get a mechanical piano that will both play tunes and also have a good repertory of vocal selections. This might entertain your friends bitter than poor interpretations done by a badly trained person. If you are going to do a thing, try to do it wcil or it is not worth the effort of studying. Piano is easier than violin to master. Singers who study seriously often spend ten years with a teacher before feeling competent to appear in public.
Foreign Artists.
“There was something the other day in your magazine about foreign artists and their not being appreciated at their home value in this country. Do you think this is so? Would not it rather seem as if the American artist was the one who was not appreciated? In reading through the names of musicians appearing in this country, the majority seem to be foreign, and I am sure that in some cases, these foreigners were never heard of in their own country, but have made reputations here, and, returning to their native lands, were never heard of again, unless they came back to America. What do you think?”
The American audience appears to be capable of judging for itself the status of a musician, no matter with what a blare of trumpets he or she arrives. As a manager once said to the Information'Bureau, “An inferior artist may be forced upon the American public for a certain length of time, but not for long.” Americans judge for themselves in so many cases that this may be taken as a general rule. There are cases when artists without honor in their own country have come here and have made wonderful successes, been praised, and made much of from east to west. Yet upon their return home, they did not appear tq have gained any local advantage from their American success. The European name seems to be one to juggle with over here. But as music here is taking such a prominent and leading position, the American judgment carries far more weight than it did a few years ago, and there must be something more than just an European name to carry success. But it is only fair to say that, for the past few years, Americans are being received and acclaimed in Europe and England in quite a different manner from formerly. So many of our fine musicians have set such a high standard over there of what Americans are capable of doing, that the Oliver Twist slogan, “more,”
GIULIO CRIMI
Tenor, Chicago Opera Company
“It is no grateful task to take the place of the greatest tenor, but Signor Crimi gave a performance of Canio that earned him six curtain calls after the ‘Vesti la Giubba’.”—New York American.
Available before and after the Opera Season 1923-1924
Management: R. E. Johnston 1451 Broadway -	New York City
(Knabe Piano)
Eastman School of Music
of The University of Rochester
ALF KLINGENBERG, Director
SUMMER SESSION
June 25 to July 28, 1923
Courses for TEACHERS of PUBLIC SCHOOL MUSIC Courses for PUBLIC SCHOOL TEACHERS OF INSTRUMENTAL MUSIC NORMAL COURSE for PIANO TEACHERS Course in INTERPRETATION for PIANO STUDENTS Private Lessons in COMPOSITION and COUNTERPOINT, PIANO, VOICE, VIOLIN, VIOLONCELLO, ORGAN, HARP, ORCHESTRAL INSTRUMENTS, ORGAN ACCOMPANIMENT of MOTION PICTURES REGULAR FACULTY OF SCHOOL ON DUTY AT SUMMER SESSION
For Catalogue and Information, Address
The Secretary, Eastman School of Music Rochester, New York