34
May 24, 1923
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ADELAIDE gescheidt
¡־b״ same work at the same performance For r Fred Patton and Judson House q. For instance,
at the Columbus, Ohio, Festival ■ FreTpfttt?n°T d״d ^hlah and Frederic Baer sang The Beatitude־ n°Iu JPds°n House Orchestra at the Oberiin Festiyffl™,! ^ Jhl CIeveland Richard Crooks were heard at the Worcester׳FesritaT a״d
״?st ssfyssa ־<*-
o״sia. &
Normal Natural Tone Production“S jSyS,tem of strated, and made practical to tv,»”	!f• dlscussed> demon-
an hour of artistic expression in a voca!“rogra£ther W!tl1
Seismit-Doda Teaches Openshaw’s Ballad
in Newport	V0ca׳teacher «*״
ballad, Love Sends a Little Gift of R״!° S3״?.f °Penshaw’s
garding the number, X followinl	When asked re־
answer:	snowing letter was received in
¡°^on\7gTJdlnsrtKn“aw SendrhaiCL¡«?“ rr asfking me in־
rto	r^?&5S5 L°d
ak™e™s 0Tlu,fe and also on tL pubh" stave™ "Sed “ successfu>N
able to do so in the «¿™SSJJf 3MeanwhUe861“1 y?U’ but• hope to be phments, and believe me, mure. Meanwhile accept my sincere com-
Very truly yours,
(Signed) Maestro A. Seismit-Doda.
Thuel Burnham and Fay Foster Entertain Jointly
Thuel Burnham’s <<Infoгmal(^,, ard	«
the last one, on the even?™ of J ?Iways Peasant, but his studio on lower Fifth avenue ^y 6’ glv?n ,as usual at lightful of the season f	’ °ne of the most de-
^	״r„sof ״״> f“»
Studio, Lou Stowe in tm	a״ artlst from her
readings—the first ’ a Southern s*urned fr°uPs .of musical compositions) and the second Rm?°UP uMnSS Foster’s
Miss Foster and its ״reseZtio^ h M• B°oth the music hV
nounced delightful. P	by Mlss Stowe were pro-
MUSICAL COURIER
i?iieeS wand• ran?e vhat- obtain.ed before the accident took de!?6) .Hea״ng.thls baritone sing today, no one could ever
hrnt1 ’n,af vWIS^jthat at. any time his voice was so badly broken that it could not give forth a pleasing sound. 7
need! tbes5, thref cases it can readily be seen without any need of further elaboration that voice culture has a very real theraputic value, apparently in excess of what might have been heretofore recognized. The concentration of vocal attention upon the development of a beautiful voice tor singing purposes solely, on the part of the voice teacher lias made him ostensibly unaware of the additional valu¿ of his knowledge. If this article will apprise him of it no matter t<? what slight degree, it will not have been written in vain. Of course the application of his knowledge to curative purposes will depend upon his success in the elimination of the vocal entanglements that the average student possesses and that by means of actual tone production.^ Vocaltherapy has as its primary aim only the restoration of the normal functioning of -the vocal organ through correct tone production.
c f.i re?bze tbat it might be urged that another lucrative held of exploitation is being opened up for those teachers who thrive upon the ignorance of the public. The incom-petent teacher, however, will soon discover if he attempts it, that he is ruining his own game, in that his incompetency will only tend to aggravate the existing trouble, and instead of helping the vocal organ, will be injuring it all the more. Wo amount of suave talking will convince or rather Coue the person afflicted that his voice is better when he finds it all the more difficult to use. I think the incompetents will be shrewd enough to keep their hands off, for in my opinion nothing will so quickly expose their ignorance as such an undertaking.
My experience has made one fact particularly evident, which is of great importance to professional singers, namely, that fatigue is the chief cause of the serious troubles that develop an impairment of the vocal organ. The singer who coerces himself to fill an engagement when he is all tired out, is inviting the undoing of his career. At such a til116 . 1S imposing a strain on the vocal muscles whose agmty ls gcme, and the more often he sings when in this condition, the more he weakens his voice, and before long some maladjustment has taken place which encroaches upon its freedom and flexibility. The artist finds himself at a loss to account for this condition that has arisen. He will lay it to this or that, but least of all to the main cause, tatigue. It is far better to undergo the loss of a few engagements, no matter how much money is involved, than to welcome the loss or ruination of the voice. The artist should take inventory of his physical condition every so often to make sure he is not endangering the instrument whereby he glorifies his art.
Duncan Dancers in Paris
been eb°k?danfo?a?CTranfcom’inp1Sfai 3a1 M?rg0' who have season, will give their first v ,Ame״can tour next Hall, November 3 Thea N Y°rk recltal at Carnegie Algeria, where they Jave	returned
and will reside for *f summe! in ParL 30 appearances'
Activities in the Adelaide Gescheidt Studios
May 1, Adelaide Gescheidt opened her recently purchased permanent residence studio, IS West 74th Street, where she will conduct her program of instruction two days weekly continuing her activities at her Carnegie Hall studios as usual during the rest of the week.
Nearing the -close of a busy season special note should be made of some important re-engagements of Adelaide Gescheidt artists in leading churches: Fred Patton, baritone Fifth Avenue Presbyterian Church, New York: Judson House, tenor. Temple Emanu-El, New York; Richard Crooks, tenor Fifth Avenue Presbyterian Church, New York; Foster House, tenor, St. John’s Episcopal Church, Larchmont, N. Y., and Temple Penyell, New York; Albert Erler, bass, Central Methodist Episcopal Church, Newark, N. J.; Franklin Karples, tenor, Temple Israel, Far Rock-away, N Y.; Leroy zelluf, bass, St. James’ Lutheran Church, New York; Nelle Wing, soprano, First Methodist Episcopal Church, South Orange, N. T • Inez Harrison contralto, Brick Presbyterian Church, East - Orange^N ״J • Violet Dalzid soprano St. John’s Episcopal Church, Je!-
r-Z frn Nii JpTMat.llda Sorg, soprano, Methodist Episcopal Church of Leonia, N. J.	p
wFre/eric Faer’ baritone, h-as been engaged by Huntington Woodman, as soloist in the First Presbyterian Church of Brooklyn’ and Adeline Grabber, contralto, in the Washington Park Methodist Church, Bridgeport, Conn. Inez Harrfson contralto, and Hazel Drury, soprano, have just completed a two weeks engagement at the Strand Theaters in Albany and 7^, N. Y and Foster House sang at the Forum Theater New York City. Della Samoloff sang at T Tivoli Theater, New York, the week of May 13 In Balti ״?re>. ?.Vth LI°yd Kinney, contralto, was engaged at the Rivoli Theater for the first and second weeks in May It seems to be a feature of Miss Gescheidt’s demonstration of dependable artists this season to have figured in the engagements at many of the well known festival At some of these two or three of her artists have been engaged
VOCALTHERAPY
(Continued from page 14)
life insurance company that three and a half years before
accdenttdeCteThhT °i? acco?nb of thl,3 very trouble and was accepted I he huskiness had completely disappeared, there
was no bulging, no overdevelopment of the vocal muscles Fiis voice was resonant, clear and strong. in'1	Pr®v‘ous*y that the physician might call in
the aid of the voice teacher in those cases not responding to medical treatment. I had just such an experience, and iwas y1]tb regard to an affliction that apparently would stand wholly outside of the domain of voice culture, namely hyperemia of the vocal cords (bloody vocal cords). Incredible as it may seem that a voice teacher could be of service to one suffering from this kind of an ailment, nevertheless I reheveci the lady of it. She had been doctoring with one oi the leading throat specialists of Chicago for almost a year, and in spite of all he could do for her, the ailment persisted. One day he said to her, “Mrs. —, medicine has done all it can do for you, there may be a ray of hope in voice culture. She came to me and related what the doctor had said. While she was talking I heard the tell-tale huskiness and a strident sharpness in her voice. She asked me if I could do anything for her. I did not reply in the affirmative because it was the first case of its kind that had come to me. I told her that we could try and after the third lesson I would be in a better position to give her a definite answer.
When she came for her second lesson I noticed that the voice had responded to the exercises I employed but I did not attempt to encourage her on the strength of it Atter working with her for some time she called upon the physician who had been treating her. He examined her vocal cords and found them in a white, healthy condition. He said to her, If I did not have your case under my own observation, I would not have believed it were possible to effect such results.” This I accomplished through a discreet use of certain vocal exercises which gradually restored the normal activity of the vocal cords, ever on the alert to avoid the slightest strain. Through vocal exercise the vocal cords received their natural stimulus which quickened their dormant vitality into gradual action and in the course of continued exercise reawakened it completely.
This case, as well as the one previous, illustrates the fact that medical science has not gone far enough as yet in the treatment of throat afflictions. To qualify the physician adequately it seems necessary that in its curricula be included a thorough course in voice culture. Thereby the doctor could determine readily if the case requires medical or vocal treatment, or both.
I shall relate another case, the severest I ever had to contend with and the reader will be enabled to judge for himself if medicine could have availed any in the restora-tion of health to his voice.
A baritone, who had a beautiful voice with a range of almost two octaves lacking־ thereto only a semi-tone, was boxing one day and he received a hard blow on his Adam’s apple. As a result, as naturally to be expected, his vocal organ was very badly lacerated, so much so that he could not emit a sound, when he tried to sing. His speaking voice was so heavy, dull and lifeless that it was quite evident that the vocal cords were seriously affected. I advised him to rest^ for a month. When he came to me at the end of his period of rest, I was stupefied. He could not sustain a tone tor the fraction of a moment. Break followed upon break, that was all his voice produced. Despair stared me in the face. It seemed as though nothing could ever be ,°ne, yor blm' ^ d*d nob’ however, yield to discouragement.
We kept on working. Though the vocal organ was exceedingly rigid, in a few weeks it began to show some agility, !here was less cracking. Kre long he could sing a tone with an appreciable degree of smoothness, but while he could sing one tone in this way within the interval of a fifth, the next above it would invariably be so aphonic that no sound at all would come forth. However, in the course of continued effort we succeeded in extending the range to an octave. When one day I had him try to sing the octave, it sounded like a succession of crackling noises breaking over jagged openings. If one will picture to himself a hose broken in various places through which a stream of water was^ being forced, he will get a fair idea of what I mean by jagged openings.
Three months had gone by and the prospect of ever restoring the voice seemed gloomier than ever. It surely was ample time to determine if there was any possible chance of _ so doing. We kept on. Within six months I had the voice so well on the way to recovery that this baritone competed for a church position and was chosen from among ml the contestants. But there were still certain hampering conditions which were finally removed. It took me just one year and a half to restore completely the freedom,
H ERKASSKY
SHURA
as If on^had'b?!" worshippPnV43‘11Г 'h1 '’4״‘r W3S
°ry”“Гш!“‘׳״״	EveninfsTn^l
sian ¿!ASatnL Smh1״ Ch^ssUy, the Rus. prodigy. His ama7i'my	y a musical marvel, a
tion of the phenomenon nIofS ?feds. further explana-aston^hed and then completely eithrillS”?■ that,.first at Poll s Theater yesterday aftlrl3״ d fls audlence Bride, Washingt j Herald, April m13?״SSIE Mac־
chM Vrod?vvthh־d3yS ״i16״ ■J°sef Hofma"u ״a־ a
enthralled if. 4 . • Al״erlcan audience been so America-MARK Г WaIsL,	Mar¿
I	noted 5lryatides of the Peabody Concert Hall haye ooked down on many a genius but even they had never witnessed such a miracle—a stripling of eleven
II Ьа"ГаП?	״SebS£
Si? &fe^a^ft£ ^
192з! Sp°FE°RD, Baltimore American, March
The Brilliant Boy
Prodigy
The Greatest Musical Find of the Generation