Scan 16
Musical Courier 1893-09-27: Vol 27 Iss 707, 1893
83 lines. Read by computer on 20 September 2026. Printed page 17. See the scan on archive.org.
1Going through the motions when the subject is uninviting induces an electrical force that leads not only to artistic development but revelation, if only one can be induced to believe it.
3HABITS OF PRACTICE.
5The average girl works with the easy portions of a piece of music. I say "work;" there is in reality no work about it. She simply passes again and again over the easy spots, always neglecting the difficult ones, till weariness sets in and the whole piece is dropped in its unfinished condition. One does not waste time passing the iron over and over the smooth spots in a piece of linen, but leaves them to press out the wrinkles. Why not concentrate upon and master the difficult parts first? The rest will fall into place and the result will be satisfactory. One way to accomplish this with a piece that grows more difficult toward the end is to practice it backward, page by page; first one alone, then two together, then three, &c. In this manner the burden of repetition falls upon the heaviest portions, and on the final playing through from the first wonderful results will have been found to have been accomplished without any of that repulsion which the mind feels toward ponderous difficulty.
7To one who is both a vocal and instrumental musician the difficulty of keeping up two such rich and distinct lines of action is especially great.
9Still there are many ways of uniting the two so as to keep both up with comparatively small expenditure of time. Finger exercise may be made vocal exercise as well. With care and attention both finger and throat muscles may be drilled at once without doing harm to either. Rest may be had from heavy instrumental work by a vocal exercise, either a song or an exercise, and vice versa, and by separating difficulties those of each department may be united for the good of the two.
11In playing one's own accompaniment for example there is much time and vitality wasted by playing and singing together at sight before the technical difficulties of either are overcome or any idea of the meaning of the composition is in the mind.
13Time, words and accompaniment should be learned independently and made individually perfect before being united. First study the air alone with a view to pure tone production and correct melody. When this is assured without an instrument, memorize or at least become thoroughly familiar with the words. They are never difficult; most of them come without effort. Next unite to them their proper dramatic action. They are for the most part a senseless blur or mechanical recitation for lack of proper attention. Next learn the accompaniment thoroughly—which means thoroughly! In uniting do not attempt all at once. Play the accompaniment reading the melody; next speak the words in connection with the playing; next sing the syllable "la" with the accompaniment; lastly unite accompaniment, words and song. The result will be astonishing to the most indifferent. It makes a travesty on a song to rush into it unprepared. It is as if one should run through a strange house at midnight hitting chairs and doors, knees and elbows, and stepping upon tacks.
15Reading part songs separately is excellent practice in uniting melody and accompaniment and giving a comprehensiveness of grasp that is invaluable. Here a knowledge of chords and keys is again found of most value.
17One great source of musical unimpressiveness, with girls especially, is a lack of standard. This in seven cases out of ten is governed by associates, conditions and surroundings; chiefly by gentlemen friends. One could count the love affairs of many a girl musician by the musical sandwiches upon her piano top. There are the flippant, classic, sentimental and sacred types, each one representing a swing of temperament disastrous to musical fidelity and harmful to the best musical future.
19Of course "an artist" is capable of interpreting these several distinct classes of thought, but a student is not yet an artist. If temporarily swung aside in the former case the undercurrent of standard is not affected. Nor is the one dropped for the other, as is the case with the emotional, untrained amateur. The best way is to choose and keep as a style that which is most consistent with temperament, physique and powers. When there is no leading instinct adopt one type and adhere to it. This means till that type has been mastered. Above all things keep up what has been acquired.
21Very many miss making an impression through poor judgment in choosing a masterpiece. An element of the dramatic must enter into the composition that shall appeal to a mixed audience. One must not in such case sing or play something that sounds like a section out of an instruction book. There is nothing gained and much may be lost by the idiotic indiscretion of musicians in singing or playing the wrong thing at the right time. Inferior music need not be chosen; that must be which has a stirring, fetching, dramatic quality. There is sufficient good music that is attractive and appealing, and such is well worth finding. Eccentricity and conquered difficulty may appeal to the student, professor and connoisseur; it does not create a favorable impression for a beginner.
23FANNIE EDGAR THOMAS.
25The Lamperti Method.
26Two Important Witnesses for D'Arona.
28AN article appeared in last week's Musical Courier calling attention to the number of so called teachers of "voice culture," "voice placement," &c., who were advertising the "Lamperti Method" in The Musical Courier and other papers, and stating that their methods were at variance with each other, and that it became necessary to decide whether Lamperti made individual methods, or whether one method that stands forth as one principle, one complete theory was applied by him to all his pupils, and if the latter, some persons were certainly not teaching voice culture according to the gospel of "St. Lamperti."
30We think it is time the public should be made acquainted with some of the characteristics of the great maestro, and then it will not be so difficult to determine who are entitled to be called "exponents" of his method and who not. Lamperti was an enthusiast, a true, pure, naturally beautiful voice was his breath of life if he saw the spreading of his fame in the work to be expended on it, and fame meant "La Carriera," or a career on the operatic stage in Italy. This meant not only years of study in daily lessons, but each home practice had to be done under the supervision of one who was proficient in his method (a responsibility of importance for both teacher in charge and pupil, as can readily be seen). After the voice was put under the pupil's control so that the location of a note no longer required thought concentration, voice cultivation commenced, and when mastered, the artistic finishes (and where can they be found to portray so much delicacy and mediate between soul and soul as in that pure Italian method?) were begun, and then for the first time you felt the human elasticity of emotion that stirred up your very being, and feelings you never before knew you possessed were aroused by the hearing of your own voice as he weaved it into colors and inspired climaxes, and you returned from your lesson wondering if you could ever in the world sing like that again.
32Your début comes, and contrary to your expectation in the maestro's interest; you find him cold and indifferent to your fate, and not until you have climbed the ladder of public fame from theatre to theatre, until the press is aglow with your success and you are secured for one of the largest theatres of Italy, where he can share your honors, did he recognise you as his pupil—not till then was your vocal education complete in his estimation. So in settling doubts about any pupil of the real Lamperti, one has only to find out how much of an operatic career the "Lamperti's method" exponent made in Italy, and if none at all, certifies purporting to come from him are fraudulent. Mrs. Florenza d'Arona is the only one that we, the undersigned, know of who possesses a legitimate Francesco Lamperti certificate authorizing her to teach his method in America, and as she was a contemporary student with ourselves before and while we were with him, we can personally vouch for the truth of all her statements.
34She was not only a distinguished pupil of his at different intervals from her childhood up, but a well-known prima donna of standard Italian opera, filling engagements at such opera houses as the Carcano, Milan; the Bellini, Naples; Teatro Municipale, Reggia d'Emilia; Teatro Civico, Chiavari; the Malibran, Venice, &c., with managers such as Francesco Serafini, Romiti Trevesan (father of Mrs. Del Puente), &c. Sembrich, Van Zant, Valda, Scovelli, Medini, &c., could join their signatures to ours were it possible, as they were all contemporary pupils of Lamperti, with Mrs. d'Arona and ourselves. The following are two Italian notices, where Mmes. d'Arona and Medini appeared together in opera, and in fact Mrs. Medini witnessed many of Mrs. d'Arona's triumphs during that season and would join her signature to ours, as she was also a contemporary pupil of Lamperti and has witnessed many of Mrs. d'Arona's triumphs in Italy. The following are two Italian press notices where they appeared in opera together, translated by ourselves from the original:
36CHIAVARI, December 6, 1878.
37After the superb rendition of "Semiramide" Sunday night, with Florenza d'Arona in her unrivalled rôle of "Arsace," who was three times recalled to the footlights. We were again elated with her rôle of "Romeo" in "I Capuleti e i Montecchi," Tuesday night, with F. Roena Medini as "Julietta." Her aria "É questo il loco," and the duet with Medini at the end of the last act, were gems full of that strength and ideal interpretation hard to realize outside of our warm Italian temperament. It is needless to say they received an ovation.
39AMICO DEGLI ARTISTE.
40* * * and then "Lucrezia Borgia," in which opera Mrs. Florenza d'Arona appeared as "Orsini." This worthy artist inspired the public to the greatest enthusiasm in her distinctively charming rendition of this rôle, as she had previously soared to the full confidence of our Chiavarese public in her ideal interpretation of "Arsace" in "Semiramide." In this latter opera she sings with such command of her pastoral and velvety voice, and with such subtle power of her perfect method, that she has only to sing this rôle alone to assure her fame. Mrs. Roena Medini, who as "Julietta" to the d'Arona's "Romeo" in "I Capuleti e i Montecchi" was a most worthy companion to the d'Arona, sharing the tempestuous applause, which culminated in an ovation and brought the two artists to the footlights again and again.
42Lamperti denied Mrs. d'Arona a certificate until she was leaving Italy to fill her engagements in Paris after several years operatic experience, turning a deaf ear to all engagements until satisfied—as he expressed it—that "Lamperti would pour from her mouth," and then he said "if she should ever teach she would be the greatest teacher in her country," and we fully indorse that statement after hearing her pupils sing, although exceptions might be taken to the remark, as other legitimate Lamperti pupils now do and may yet teach, but there are so few in this country who are entitled to a claim to that great maestro that jealousies should be done away with between us and a bond of 'true friendship to link us closer together should be formed, so that in whatever capacity we find ourselves, whether in opera, as teachers, or in married life, we may venerate the father of our vocal fame by never allowing petty jealousies to rob one of his children in art of her hard earned and justly deserved success, since a bona fide pupil of Lamperti who has passed through the scathing criticism of an Italian audience needs no other recommendation for the guarantee of the one and only "complete theory," such as he taught each and all of his pupils who had voice, talent, temperament, money and time to devote to the perfection of his wonderful method.
44Those who studied after 1881 in our united and candid opinion would have gained more to have remained at home, for even in that year his faculties were beginning to fail, and during the lessons of "Lamperti Fad" pupils, he would doze, read the newspaper, take snuff, imitate their efforts and pocket their money. Of course these pupils were convinced there was nothing to his teaching, and that they could do as well as that themselves and better, and these people together with "Rome must be built in a day kind," who do Europe and take a few lessons of each of the great masters there, are the ones worthy artists are brought into competition with, for they are shrewd, possess wonderful business capacity, have an audacity that make a true artist tremble, and are so unprincipled that they would publicly steal the bread from the very mouths of those they would grovel before in very shame were artists valued for what they are instead of what they claim themselves to be.
46CLARA HEYEN,
47Pupil of Francesco Lamperti for six years, prima donna with Chiangni at Padua, Milan, Turino, Bologna, &c., at present retired. Care of Mrs. B. T. Nichols, "The Mystic," 123 West Thirty-ninth street.
49EVA CUMMINGS,
50Lamperti pupil eight years, prima donna of Risordi and Vianelli Opera Company, Milan, Italy; Terzi Opera Company, Milan, Italy; Aramburo Opera Company, South America and Cuba; Max Strakosch and Milan Opera Company, Nova Scotia, and at present engaged as prima donna of the Fabbri Grand Italian Opera Company, San Francisco, Cal. Address, care of Henry Wolfsohn, 331 East Fourteenth street.
52Elizabeth C. Mayer.—Miss Elizabeth C. Mayer has returned from Europe, and has opened a vocal studio at 230 West Fifty-ninth street.
54Amy Fay.—Miss Amy Fay has returned to the city after a summer in Chicago, where she opened the Woman's Musical Congress, July 5, with a paper on "The Piano." She also gave one of her "musical conversations" at Pontiac, Ill., by invitation of the resident teachers.
56Miss Fay has again opened her studio 33 West Thirty-first street, where she will give instruction on the piano. She is also prepared to accept engagements for recitals.
58THE NEW YORK
59School of Opera and Oratorio,
60106 & 108 East 23d Street.
62EMILIO AGRAMONTE
63AND
64CHARLES B. HAWLEY,
65DIRECTORS.
67A SPECIAL SCHOOL for instruction in all branches of vocal art, which are taught in a scientifically graded and systematized course, from their elementary principles to their supreme expression in Opera and Oratorio. The School will be inaugurated September 25. Candidates for admission can apply from September 1.
69FACULTY:
70Singing, Solfeggio and Musical Dictation, Chanting, Opera and Oratorio—E. AGRAMONTE, C. B. HAWLEY, MME. THEODORE BJORKSTEN, MISS MARIE S. BISSELL. Harmony—C. B. RUTENBER. Physical Culture, Elocution, the Art of Acting and Opera on the Stage—MISS ANNA WARREN STORY, MR. HENRY L. WINTER. Languages—Dr. LUIS BARAN. HERR FREDERICK RATHKE. Piano, Engraving, Drawing, Theory of Opera, Ecclesiastical Music and Oratorio and other studies; prominent lecturers.
72The course system and the separate branches system, both used. School open all year. Lessons in the evening also. School home for out of town pupils, 458 W. 23d Street, Miss E. CHATER in charge.
74For terms and prospectus apply to
75LOUIS ALBERTI, Secretary.
77FRANK VAN DER STUCKEN,
78CHICKERING HALL.
79OPERA, ORATORIO,
80INTERPRETATION OF SONGS
81(ENGLISH, GERMAN AND FRENCH).
82Applications received at Chickering Hall every Monday from 11 to 1 o'clock.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.