35
MUSICAL COURIER
May 24, 1923
charmed the large audience with her fine renditions. Her program was made up of O del mio dolce ador, Gluck; Qui vuol la Zingarella, Paisaillo; En Barque, Pierne; La Cloche, Saint-Saëns; Sappische Ode, Brahms; Widmung, Schumann; Noon and Night, Hawley; To the Sun, Curran; Meadow Daisies, Kriens; Why, Tschaikowsky; Night and the Curtains Drawn, Ferrata; Lullaby, Scott; Her Rose, Combs, and Joy of the Morning, Ware. Her finished and highly artistic singing reflected great credit upon Mr. Van Yorx.
MUSIC AND PUBLIC EDUCATION
By GEORGE H. GARTLAN Director of Music in the Public Schools of New York City
THE PROFESSIONAL MUSICIAN AND SCHOOL MUSIC
Sundelius, Edwards and Forsberg in Brooklyn
The people of Bethlehem Lutheran Church, Brooklyn, N. Y., and many others who assembled at the church Saturday evening, May 12, were highly favored in the opportunity to listen to one of the finest of concerts, given by Marie Sundelius, soprano of the Metropolitan Opera Company; Elizabeth Edwards, soprano, daughter of United States Senator Edwards of New Jersey, and Conrad Forsberg, pianist, and organist of the church.
Mme. Sundelius began with Depuis le Jour (Louise) ; Miss Edwards, with an operatic selection from Mignon; Mr. Forsberg played Scarlatti’s pastorale, arranged for piano by Taussig, and other numbers by Henselt, Debussy and Dett. All were artistically rendered, and he was obliged to respond with an encore. Mme. Sundelius sang a group of Swedish songs, two by Peterson-Berger, and several Swedish folksongs, her encore also being one of the latter. Miss Edwards followed with songs by Massenet, Salter and Boyd, and Mme. Sundelius closed the program with Handel’s Care Selve, Fingo per diletto (arranged by Viar-dot), Lullaby (Scott), The Little Shepherd’s Song (Watts), and several encores, including Love’s Old Sweet Song. It was a delightful program from beginning to end, as indicated by enthusiastic and persistent applause. The artists were at their best, and the closest attention was given by the listeners.
Mme. Sundelius is an ideal concert artist. She sings charmingly and is so thoroughly relaxed that the voice responds to her every mood. Such wonderful gradation of tone, from the softest to the most vibrant! Her interpretation is an inspiration, whether in operatic, oratorio, folksong or ballad. Had a vote been taken as to who is the Swedish Nightingale, it would have been unanimously in her favor 1 The two soprano voices were like the violin and flute; a duo by the two would have been delightful.
Miss Edwards has not had the ripe experience of Mme. Sundelius, but she has a beautiful, high voice, well under control, and sings artistically and with marked intelligence; she was well received by her audience. Mr. Forsberg is a true, sympathetic accompanist.
Henry F. Seibert Arranges Fine Program
An interesting program of music was given at Holy Trinity Lutheran Church, New York, on Sunday afternoon, May 6, by Henry F. Seibert, organist; Esther Nelson, soprano, and Mabel Ritch, contralto. Mr. Seibert is organist and choirmaster of Holy Trinity Lutheran Church.
Opera Recitals
CHARLOTTE
LUND
Soprano
N.VAL PEAVEY, assisting artist, pianist and baritone
Program given at the National Arts Club, New York, May 16, to a capacity audience whose enthusiasm was unbounded :
Prelude from Carmen...Mr. Peavey
Duet, first act, Micaela and Don Jose,
Mme. Lund and Mr. Peavey Aria, Depuis le jour, Louise,
Charlotte Lund
Invocation to Paris, Louise,
Mme. Lund and Mr. Peavey Meditation from Thais (piano solo),
Mr. Peavey
Oasis duet from Thais,
Mme. Lund and Mr. Peavey
Duet from first act of Madama Butterfly (sung in English).
Muzetta’s Waltz Song and duet from third act, La Bohême.
Aria, Vissi d’Arte, Tosca.
Duet from Cavalleria Rusticana.
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OLGA BINHAV1, Personal Representative lor Charlotte Lund, 257 W. 86th St., New York City
An Effort to Bring All Who Are Interested in School Music Together for the Benefit of the Child
many people went into this work without the necessary training in musicianship, because in the early stages it was not required. When public school music was first introduced, men like Lowell Mason saw the possibilities but perhaps never realized to what great proportions public education would grow. They no doubt foresaw exactly what is going on today—music appreciation, a part of the regular school course, sight singing, theory, instrumental instruction, etc.—׳and yet, all that they did was start in a simple way to teach children to read music.
The Conservatory Idea.
So far as the special subject of music is concerned we shall always have the conservatory with us. It is an essential part of music. It should be the type of school where the artist is made. It should be the general education in music as well as a training school for the virtuosos. But we must not lose sight of the fact that this idea of specialized training cannot be successfully carried out in the public school. There are certain ideals which must be maintained in the matter of general education. The cold-blooded psychologist who does not understand music will tell us that we are making a mistake in over-crowding the curriculum with music because it is not a panacea for educational ills, and that all people cannot understand and appreciate music in such a manner as has been indicated on many occasions by the fine accomplishments of public school teaching. Regardless of what they may think there is no finer disciplinary force than music. As a rule a community which devotes a large part of its attention to the artistic side of education is a fine place in which to live. Psychologists are going too far afield in their attempt to evaluate our intelligence by measurements. They are taking the heart out of the child in order to accomplish some perfectly ridiculous purpose. It is not educational intolerance which prompts a statement of this kind. Intelligence tests, etc., are all right to evaluate individual skill in mathematics, but they never made a good plumber.
Carrying Out the Idea.
The program of the National Conference was arranged with the idea in mind of bringing all the elements involved in school music together. Prominent teachers, publishers, symphony conductors, heads of conservatories, etc., were speakers and demonstrators, each in turn presenting their ideas on music in general and its relation to school work. It was all very interesting, but proved clearly the lack of definite study of school conditions and management. No one could offer constructive help unless he thoroughly understood the entire situation—all they can do is suggest ideas.
It is the latter angle that should be developed and worked out—some plan to start, and the real co-operation and progress will result.
The recent conference of music supervisors throughout the United States provided some interesting avenues of thought in relation to the present status of public school music and the reflected attitude of musicians in other lines of service. Anyone who has made a conscientious study of the problem of. education, and we mean by this complete and not superficial, realizes that the prejudice winch for many years surrounded the rather narrow and limited field of public school music, is fast disappearing, and in its place a broader and more, intellectual view has been substituted.
Supervisors who . really think are more than anxious to get the co-operation and advice of musicians and teachers who have made a success of their particular work in another field. This is evidenced by the fact that in the larger cities where musical advantages are greater than in the smaller towns, the finer type of co-operation is obtained through orchestras, choral societies, and the advice and teaching of experts. In cities such as New York, Cleveland, St. Louis, Kansas City, and others, the professional symphony orchestra has become a component part of the public school music teaching. Individual artists are volunteering their services on all occasions in order that the child may have every possible advantage in the understanding of music. Other communities that are not fortunate enough to possess these advantages are finding substitute methods of action, and it is a hopeful thought that such a fine spirit can exist among musicians.
Type of Co-Operation Needed.
Occasionally we read of the necessity for having school music thoroughly revised and put upon an entirely different basis. What the urgency of this is we are not prepared to discuss. It is even suggested that all the material used in schools should be submitted to musicians who have had no connection with public school music. This would indeed be a very poor method of procedure. The problem is too dignified and too serious to be handled with such lack of consideration for the elements involved. Public school music is, after all, a highly specialized form of a great art and must be considered as such, and not handled in a way which will tend to rob it of the particular character which it possesses. The art of teaching children is very different from that of training the adult. It is true that there are natural born teachers, but the majority of people who intend to devote their lives to such service must be trained by teachers who understand first the art of teaching.
The professional musician, therefore, would become not the teacher of teachers but the expert adviser in all matters of material rather than method. It is sometimes difficult for the. professional musician to appreciate the distinction which had to be made in the matter of preparing the way for an introduction to school music. It is true that a great
choir master). A really good orchestra and the eminent soloists J. Campbell Mclnnes, baritone, and Alfred Heather, tenor, united with such a solid, sturdy mass of tone evolved by the two choirs before referred to, made it possible to give a profound and impressive rendition of this glorious work. Dr. MacMillan conducted with authority and is to be congratulated on the result of his enthusiastic labors.
Symphony Orchestra Organized.
A new symphony orchestra has been organized under the conductorship of Luigi von Kunits and is the result of voluntary effort on the part of Toronto musicians who decided some time ago that, if there was ever to be such an important organization again it would have to be started on some sort of cooperative plan as it seemed impossible to secure a permanent fund for the purpose as it was hoped some time ago. The first concert was given in Massey Hall, the program containing the overture to Freischiitz (Weber), Dvorak’s Slavonic Dances and Tschaikowsky’s symphony in E minor, No. 5. The effort deserves the highest cooperation and sympathy of all citizens.
Toronto Learns the Secret of Suzanne.
A delightful novelty so far as Toronto is concerned was the presentation of Wolf-Ferrari’s one-act opera, The Secret of Suzanne, by Fern Goitre Fillion. The work was well given, Mme. Fillon making a fascinating picture of the youthful and winsome Suzanne. Rupert Brooke, a tenor pupil of Dr. Broome, acted and sang with distinction and both singers were enthusiastically cheered.
English Musicians Adjudicating Canadian Festivals.
Two distinguished Toronto visitors were the English musicians Granville Bantock, composer of large choral works and works for orchestra, and Plunkett Greene, famous singer. They were here as adjudicators for the Ontario Competitive Musical Festival and will immediately proceed to act in a similar capacity in the Western provinces. The entries of all kinds exceed 4000 and every moment of their time will be occupied. On May 5 a concert was given in Massey Hall at which many of the successful competitors appeared.	W. O. F.
Hempel to Sing in London
Frieda Hempel sailed on the S. S. Majestic, May 12, to spend the summer abroad. She will give her Jenny Lind Concert in Albert Hall, London, Sunday afternoon, May 27, and after a brief stay in Paris will go to her home in Sils Maria, up in the Engadine, Switzerland, for her vacation. The prima donna will return the latter part of October to resume her operatic and concert work.
Theodore Van Yorx Presents Artist Pupil
Alice Pate, contralto and artist pupil of Theodore Van Yorx, gave a recital in the Van Yorx studios, 22 West Thirty-ninth street, on Friday afternoon, April 2Cf. Miss Pate who possesses a rich contralto voice of big range,
TORONTO NOW HAS A
SYMPHONY ORCHESTRA
Fine Performance of Bach Oratorio—Other Notes
Toronto, Ont., May 3.—The season in Toronto has been an exceedingly brisk one. Local concerts by the best soloists, instrumental and vocal, with numerous chamber music concerts have all been of high quality and very well attended Besides there have been two or three weeks of opera and a vast number of pupil’s recitals, many of which have been of excellent character.
Fine a Cappella Singing.
The Orpheus Society, Dalton Baker conductor, an outstanding organization of fifty-seven women and forty-two men singers gave an _ impressive concert in Massey Hall, the large audience testifying in no uncertain terms its appreciation of the club’s superior singing qualities. It specializes in unaccompanied singing, the intonation is always admirable, the attack sure and the interpretations variedly colored. Mr! Dalton Baker may find it necessary to abandon the conductor’s desk next season and it is hoped the society will be able to continue under another director.
Chamber Music Gives Pleasure.
The last of the Hamboufg. concerts took place recently in Massey Hall when the trio comprised of Henri Csaplin-ski, violinist; Reginald Stewart, pianist, and Boris Ham-bourg, cellist, played Beethoven’s trio in G major and Saint-Saëns’ trio in F major, giving in each instance brilliant and interesting performances. Mme. De Munck, soprano; Ruth Cross, alto; Q. E. Fiddes, tenor, and W. R. Curry, bass (a new vocal quartet organization), sang several numbers with gratifying success. Mr. Tattersal was the accompanist.
Great Oratorio Well Performed.
A splendid performance of Bach’s St. Mathew Passion under the direction of Ernest MacMillan was given in the beautiful Timothy Eaton Memorial Church with the cooperation of several local musicians and the choir of the Old St. Andrew’s Church (Richard Tattersal, organist and
FLORENCE
HARRISON
VOICE
TRAINING
Based on the principles evolved by Eleanor McLellan
FREER	INCREASED
PRODUCTION RANGE