32
May 3, 1923
schools of composition are taken up and thoroughly explained in their relation to interpretation. Rossini, for instance, will be analyzed, and his various styles subjected to a careful examination. The fact that there is a great advance from his earliest manner to his latest manner, and, consequently, a different manner of interpretation needed for the two, is made clear. The peculiarities of his coloratura are pointed out, and in this way the pupil is made to understand the importance of differentiating between various styles, not singing everything according to the same formal pattern.
Other composers will be treated similarly. The great contrast between Italian and German song will be demonstrated. The German Lieder school, so very important in modern music, is given careful review, and the evident-different interpretation to be used with it as compared with the Italian operatic school is taught with such care that the pupil or prospective teacher has some definite basis upon which to rest subsequent interpretations to be made without the aid of Mr. Saenger’s expert guidance; for to make the pupil self-sustaining is naturally the main object of any instruction.
In the classes especially for teachers the method adopted is to make conditions as nearly like they would be in the pupil-teacher’s own studio as possible. In other words, one pupil plays the role of teacher, another pupil the role of pupil, and a regular lesson is given, with Mr. Saenger standing by to comment and criticise and to make helpful suggestions. _ The teacher thus acquires that manner of authority, which Mr. Saenger himself possesses to so unusual a degree, and which he is so eminently fitted to point out to others.
The result is that the teacher-pupil, when he or she is put to the test of actual reception and instruction of pupils not only knows the technic of the art of voice placement' interpretation, deportment and the like, but knows how to place it before the student in an impressive and authoritative manner, which has much to do with getting and holdin״ a class together.
Questions.
There is another feature of Mr. Saenger’s work that is no less important and valuable, and demonstrates his own keen comprehension of the psychology of certain students Some students are unwilling to ask questions which may show their ignorance. They come, perhaps, from small communities where there has been no one to ask, and they have stored up all sorts of questions in their minds, awaiting an opportunity to get answers to them. They have searched the books but have been unable to find enlightenment. Yet they would be afraid to ask their question Detore a class of perhaps more sophisticated pupils, for tear of making themselves ridiculous.
-!■«63uZ'1S {״is situation, Mr. Saenger has overcome the difficulty by allowing all of his pupils to put their questions down in writing. These are gone over by him, and when the class convenes for the next lesson, he takes them up in turn without, however, giving the name of the enquirer, thus avoiding all publicity and pmbarassment. The questions generally prove to be instructive to the entire class, all sorts of details being thus given consideration which might puzzle students when it was too late to ask for their solution.
Mr. Saenger says that all of the teachers who are engaged in giving these master classes realize fully what they mean to the students. To most of these students it is an event of a lifetime and the result of a great personal sacrifice. They come from small places and have not at all the attitude of the sophisticated city pupil, who says to himself, “Oh well If not his teacher, then some other.” These small-town pupils, who come to the metropolis only for the summer classes, have no such feeling of choice. They put their teachers on a pedestal, and this brings home to the teacher as nothmg else could an appreciation of his own responsibility. Naturally, inspired with such belief, every teacher is put on his mettle and gives of his very best.
It is asked sometimes, says ׳Mr. Saenger, whether it is possible for the pupils to get anything in this short period of five weeks The ansvver is that they get enough actual work and food for thought to last them a lifetime. It is an inspiration that lives with them and keeps them up to a higher standard of work than they ever conceived of before coming under this influence. It is something to talk about to dream about, to make an ideal, a lode-star to guide them m their work, however monotonous and humdrum its routine may subsequently become.
No teacher with a realization of his responsibility can neglect this opportunity. By his attitude of sincerity and earnestness through these few weeks he can help raise the whole standard of art in the districts from which his pupils come They go back home inspired—there is no other, word ' j ¿hey ,have dlscovered that there is more to singing and teaching than mere technic and dollars and cents Thev carry their message to their fellows, and, you may be sure will never sink to the level of mere music teaching drudges who turn music into mechanics.	s
.“Add to this inspiration the fact that each of these pupils wins the privilege of corresponding with me as long as they like after the term is completed,” says Mr. Saenger “I am now corresponding with three hundred of them and the number is constantly growing. They write me their professional problems and depend upon my very Ion״ and varied experience to solve them.”	y s a
Inspiration For The Students.
tpaellge[ 'S *i1“8 ? source of continued inspiration to all of those who enjoy the privilege of his instruction. Nor does he skimp the time devoted to his pupils during the summer His classes follow each other in steady procession from ״me to one, and from two to seven, or even’late" Every Saturday are held musicales, at which pupils of each of the master teachers appear.
Mr. Saenger tells a story of these musicales which illus-
haadte״n he3,״rit l°f fairness,Tand equality that obtains. He had one pupil who was a Negress—a girl with a splendid voice, intelligence and understanding, a real artist. When the program was being made up for one of the Saturday musicales he placed her name on the list. There was a protest from some of those in charge, but Mr. Saenger insisted *I.13‘ he ,would certainly not receive the girl as a pupil and deny her any privilege that was accordfd others She sang, and was the ■big hit of this particular redtal
MUSICAL COURIER
OSCAR SAENGER TALKS OF HIS SUMMER CLASSES
musician whose business it is to attend many concerts knows how frequently he says to himself, “If only he, or she, would not do that! Why didn’t his or her teacher teach deportment as well as voice!”
And this matter of deportment, as Mr. Saenger explains it, is not continued to any single set of rules. There is a special technic for every sort of occasion, and the attitude at a recital, or suitable to an appearance with symphony orchestra must differ radically each from the other and both from that suited to the sacred cantata or oratorio
The recital is especially difficult and especially important, as frequently a young artist’s career will depend largely upon success in recital. Ihe attitude in this case must be intimate and friendly, yet dignified. Respectful to the udience and to the music to be presented, yet sympathetic and magnetic. A happy medium that it is by no means easy to attain.
There is also the matter of interpretation and language neither of them to be neglected, both of them highly im-
OSCAR SAENGER
portant. In the matter of language Mr. Saenger insists that if the pupil does not thoroughly understand the foreign words it is far better to sing English, even if the translation is a poor one. Every one of his pupils must make a complete translation into English of every foreign song that is studied, and must show that not only the words themselves are fully understood but their essential poetic and dramatic meaning as well. Mr. Saenger insists that it is perfectly impossible to give a proper interpretation of the music unless this is fully comprehended.
Furthermore, Mr. Saenger requires the pupil to give a proper recitation of the words with their expression and inflection; a dramatic or poetic rendering, entirely separate from the musical setting. This serves better than anything to show how much the pupil really conceives of the meaning of the words, and it also serves to bring the pupils’ attention upon the importance of the poem as well as the music.
The different musical styles of the various composers and
It is not longer news, though it is still good news, that Oscar Saenger, New York’s eminent vocal teacher, is agaui to be guest teacher for five weeks this summer at the Chicago Musical College. His term begins on June 25 and lasts all day every day until July 28, a whole five weeks filled from end to end with the most expert instruction it is possibe to obtain. And in addition to this instruction there is offered a wealth of inspiration that it is practically impossible to describe. One must know Mr. Saenger personally to appreciate the force of his personality, the kindliness and earnestness of the man, his fervent belief in what he is doing, and his ability to express himself and to bring home to his pupils the meaning which their art ought to have for them.
To the writer Mr. Saenger described in detail his methods, and his ideals, and yet the writer despairs of giving readers of the Musical Courier any adequate picture either of the man or of his methods. He has the gift of painting a picture before your vision, but it is more than a picture in words, and defies reproduction in print. His enthusiasm, the force of his utterance, his evident sincerity, his choice English, his careful and distinguished pronunciation, his impressive manner,' all add something to what he has to tell which simply cannot be put into print.
, Seven years ago, says Mr.
Saenger, he started the master classes. It came about as a result of offers, received by him from several institutions to give a course of lessons during the season. This, for ihany reasons, was impossible. But Mr, Saenger finally decided that it might be tried after the season was fiver•• a summer school—and the Success of his first season was so great that" the master class movement swept over the whole country |nd has become a regular recognized feature of our American educational system, and has even spread to Europe, where in Paris, Berlin and London master classes are now being held by famous teachers.
Mr. Saenger’s Chicago classes and lessons are divided into numerous groups. There are private lessons, lectures, repertoire classes, teachers’ classes and auditor classes, in which students are permitted to listen to the teaching of others. The course does not, therefore, consist merely of voice placement. Essential though that is, it is not felt by Mr. Saenger to be all that the prospective singer or teacher should have. There is, forrinstance, the matter of stage deportment.
The Importance of Stage Presence.
Stage deportment is, one might say, almost as necessary as the ability to sing. We all of us know that the best of singing may be rendered ineffective by an awkward stage presence, or a stage deportment unsuited to the particular occasion where the singer is to appear.
There is a different deportment, as Mr. Saenger points out, suitable to different occasions. Remember, for instance, David Bispham’s manner when he sang the part of Christ in the Redemption Erom his very appearance on the stage he was reverent ,dignified, self-contained, indicating by his demeanor his full appreciation of the sacred words it was his privilege to
And compare this with many another. They will come out with a conceited, self-opinionated slouch or strut, showing themselves off to the audience, laugh and joke with the other soloists, with the director, with the choristers When their time comes to sing they will perhaps try to force themselves
into their role, but the effect has ■been destroyed
Not that they are especially to blame. Their attention has probably never been called to the necessity of a stage deportment suited to the role to be interpreted. They have - never been taught anything beyond the mere art of sinking and would probably consider all else mere meaningless and worthless frills, when, as a matter of fact, as every critic knovte, these so-called frills are half the battle. Every
GLADICE
MORISSON
SOPRANO — DISEUSE
French Songs in Period Costumes Now Booking, 1923-24
She wore three brilliant period: costumes that made a striking contrast against the dark curtain of tfie Belmont Theater. Though her voice is of light quality, it is remarkable how her crisp diction and te-nt interpretations can color these dainty chansons.—Evening Mail, New York, February 26,	“
Combining the methods of the Diseuse with those of the singer Miss Morrison sang with confidence, winning ample applause.— Tribune, New York, February 26, 1923.
Management ERNEST BRIGGS, Inc., 1400 Broadway, New York N. Y. Personal Representative, SAMUEL MORISSON, 1370 Broadway! n! y!