Scan 21
Musical Courier 1896-12-02: Vol 33 Iss 874, 1896
87 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 16. See the scan on archive.org.
1THE MUSICAL COURIER.
28 RUE CLÉMENT-MAROT, CHAMPS-ÉLYSÉES,
3PARIS, November 11, 1896.
5ALEXANDRE GUILMANT IN THE CONSERVATOIRE.
7A DISTINCT feature of the Paris Conservatoire is that its teachers are not simply pedagogues (good enough in their way), but men of genuine, largely creative genius, endowed with divine light and with the spirit of devotion which accompanies it. They are not taken in there at hazard, nor has money anything to do with the acceptance of the position. The salaries paid are merely nominal, yet there is not a man among the "elect" who would not leave the most lucrative position to accept the privilege.
9For the men chosen are men who have been "seasoning" in Art's "yards" from childhood. To them abstract love of the work, pride in the glory and satisfaction in being of service (of the highest type) to the country are sufficient recompense.
11Alexandre Guilmant, one of the brightest stars in the musical firmament of France, a man to whose incorruptible integrity the country bows its head, a musician of international renown, enters the ranks of Conservatoire teachers this week by accepting the chair of organ professor offered him by the state.
13It is difficult for an American to comprehend that to do this he gives up many private students ready and willing to pay him big prices for their instruction. Yet he does this very thing, and in doing it no thought of remuneration enters his simple, honest mind. Of course he can still give private lessons, but two hours three times a week, with the heavy responsibilities of teaching "artists," the constant examinations, attendance steady and regular, and the drain on his sympathies in the new work will make these cherished privileges more precious than ever.
15Private or public, in class in studio or in audience, the disciples of this sound and orthodox apostle are to be congratulated. May the Conservatoire have a long lease of his precious services!
17A FORTUNATE AMERICAN PUPIL.
19In the last examination for entrance to piano study in the Conservatoire Miss Lucy Hickenlooper, a young daughter of Texas State, sixteen years old, was successful in passing the rigorous examination before a jury of eleven men, tried and true in the knowledge of music, and is now a member of the French Conservatoire. She not only passed, but received ten voices of the eleven, well seasoned with the highest encomiums, and she passes into the hands of M. Delaborde for instruction.
21Her trial piece was a Schumann sonata, op. 58, and two pages of extremely difficult manuscript music were read. The members of the jury were:
22MM. Th. Dubois, Paladilhe, Lenepveu, Rety, Taffanel, Marmontel, Wormser, Falcke, Pierné, Delaborde, Pugno, Duvernoy and Bourgeat. But twelve were admitted out of 176 concurrents. With sincere congratulations THE MUSICAL COURIER will watch this gifted young lady's career with loving interest.
24M. Augustus Hyllested, the Danish pianist, is in Paris putting finishing touches to a symphonic poem.
26Mme. Premslar da Silva, the French pianist (first prize of the Conservatoire), has reopened her piano cours, 47 rue de Maubeuge. Supplementary classes in clavecin, solfège, harmony and reading music at sight. one of two readings
27Mme. Premser da Silva, the French pianist (first prize of the Conservatoire), has reopened her piano cours, 47 rue de Maubeuge. Supplementary classes in clavecin, solfège, harmony and reading music at sight. one of two readings
29Mme. da Silva has been winning credit as a concert pianist and clavecinist as well lately, at the Trocadero, at the Jardin d'Acclimatation (with a superb Beethoven concerto), at the Exposition of Theatre and Music, at Montmorency, Rouen, Bordeaux and many other cities of the provinces.
31FANNIE EDGAR THOMAS.
33Lankow Writes.
34Editors The Musical Courier:
35PERMIT me to have a little say about the American girl's chance for a public career. I like to give this little saying the title:
36THE SPIRIT OF THE AMERICAN STUDENT.
37Mr. Wolfsohn's letter to you contains positive facts and, above all, he does right to make that vast difference between the singer only and the singer-artist.
38To a certain degree he is right, too, about the "downright merit, which should win every time." The prejudice against American singers by their own people may find its reason much more in the spirit of the American student than in the managers and the public themselves.
39Out of the hundreds and thousands that have beautiful material and fine chances to study with excellent teachers, and work up a career, how many do faithful and sincere work, such as their teachers want and expect them to do for art's sake? It is not art for art's sake with them, but "art" (so called) for wealth and glory and if some extraordinarily gifted ones "get there" seemingly without much trouble, why not take it easy? "The public don't know anyway!" But the public is expected, so just flock together, pay high prices and accept what is given to it by the would-be artist.
40Earnest and severe studies do not interest the average students; they are usually enthusiastic in the start, and are yours devotedly and lovingly, but as soon as they feel, they get sure of only the beginning of technic, and mostly singing in time and the right notes besides, then follows the swollen head and—off they go! This is an everyday experience—half finish! And they are so well satisfied with themselves that they are to be envied. But there are others! There are willing students with a lot of relatives, mothers and fathers, sisters and brothers and all the next following kinsmen, not to forget hosts of friends, who all have their opinions and much too much to say. The patient teacher has to listen to stuff like this after perhaps two or three months: "So and so said," "My! don't you study parts yet?" "Oh! you still sing scales?" "Dear me, I was through with that in the first month!" "Heavens, you will never get there if you go so slow!" And so on and on, until the formerly willing pupil's mind is upset and discouraged and—off she goes!
41Then come the ones that know it all much better than the learned and interested teacher who brought them there. They don't know either humbleness for art nor consideration for the teacher—not even half finished—off they go! Then the pleasant representative of those that come to you for a little while, as a means for "just to get there." The artist teacher comes with his or her devotion and reverence for art, but this pupil doesn't need that; ergo—off she goes! Not to speak of those who think they are so extraordinarily gifted that even the best teacher must only be too happy to take them for nothing. If one does, as I stupidly have done only too often, they never will value it and laziness, indifference and ingratitude will be the teacher's reward.
42I will not speak and enumerate occurrences that simply are not understandable which talented students make to give up their work for art.
43Now, with all these everyday facts, how can a reliable teacher, say even an ideal teacher, develop a true singing artist, being dependent as a rule on all these species just mentioned? I could name a dozen American girls with simply God-given, glorious voices, but, having no humbleness, no reverence, no devotion for art, and little common sense besides, much less persistency, they will be no more than everyday mediocrities. The greater the gifts the higher are the capabilities and the more untiring must be the endeavors to reach this individual height and greatness.
44And with these half-finished, would-be artists managers like Wolfsohn and Ruben, &c., and the public have to deal. Of course they are only good enough for "small engagements," and the prejudice is only the deserved result. My admiration for those that "got there" through love for art and unceasing work.
45But as long as vocal students don't study as systematically and patiently for at least from three to four years as other musical artists have to do for ten to fifteen years "to get there," so long they never need expect a manager who puts himself out for them, or a public that is willing to pay for them, and still less need they to wait for those wonderful and celebrated $1,000 a night!
46ANNA LANKOW.
47November 21, 1896.
49Mrs. Ratcliffe Caperton.
50REPRESENTATIVE AND ASSISTANT OF LAMPERTI—AS TEACHER.
5117 Sedanstrasse, DRESDEN, SAXONY, November 4, 1891.
52MY DEAR MRS. CAPERTON—The post of my assistant teacher being at present vacant, a very responsible position, as you well know, and one which I must fill with the greatest care, I have concluded to ask you to accept the same and to prepare those pupils for me that are either not sufficiently advanced or that I cannot momentarily accommodate. In offering you this position I feel that I am paying the highest tribute in my power to the merit of your sound acquirements. Have the kindness to send me your reply at as early a date as possible. Very truly yours,
53PROF. G. B. LAMPERTI.
54DRESDEN, July 1, 1896.
55Mrs. Ratcliffe Caperton is my only authorized representative, and I advise all pupils desiring to study with me to be prepared by her.
56Sedanstrasse 17.
57G. B. LAMPERTI.
58Mrs. Ratcliffe Caperton, whose studio is in Philadelphia, now devotes two days a week to New York—Mondays and Thursdays at Hardman Hall, 138 Fifth avenue.
60Sacred Song Service.—A service of sacred song was held on Sunday evening last, the 29th inst., at the Union Methodist Episcopal Church, Forty-eighth street, west of Broadway, Rev. James M. King, D. D., pastor. Wagner, Ulrich, Spohr, Dinelli, Williams and Garrett were the composers on the program.
62THE DANNREUTHER QUARTETTE
63(Organized 1885).
64ELEVENTH SEASON, 1896-97.
65Begs to announce that the usual number of THREE CONCERTS of Classical Chamber Music will be given at Carnegie Hall (Chamber Music Hall) on the evenings of
66The Quartette will have the assistance of Mrs. Gustav Dannreuther and Mr. Howard Brockway, Pianists.
67Thursday, November 19, 1896.
68Thursday, January 21, 1897.
69Thursday, March 11, 1897.
70Tickets now ready, to be had at the music stores of E. Schubert & Co. and G. Schirmer.
71For engagements and business communications address MR. GUSTAV DANNREUTHER, care Mr. G. Schirmer, 35 Union Square, New York City.
73SCHARWENKA CONSERVATORY OF MUSIC,
7435 EAST 62d STREET, NEW YORK,
75Formerly 37 East 68th Street. Near Madison Avenue.
76Under the Management of EMIL GRAMM.
77Prof. Xaver Scharwenka, Musical Director.
78All grades of musical students, from beginners upward to the most advanced, receive a uniform, excellent and systematic instruction in all branches of music. Eminent artists of both European and American fame are among the faculty. Fall Term begins Monday, September 7. Write for Catalogue and particulars. Students can enter at any time.
79N. B.—For the accommodation of students residing in the lower part of the city Professor Scharwenka will instruct same at his private studio at Steinway Hall. Applications please address to EMIL GRAMM, 35 East 62d Street, New York.
81Available for engagements east of the Missouri River
82FEBRUARY ONLY.
83Pacific Coast Tour—November-January.
84English Tour—Spring, 1897.
86FANNIE BLOOMFIELD ZEISLER.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.