Scan 10
Musical Courier 1898-06-15: Vol 36 Iss 954, 1898
48 lines. Read by computer on 21 September 2026. Printed page 11. See the scan on archive.org.
1with his treatment, my dear student, be wary of trusting your case in his hands.
2The probability is that he will not only fail to cure you, but will also add to the already acquired debilitating processes some other form of voice abuse.
3It is safest to steer clear of the doctor who airs his notions upon voice training in private or public.
4In every case, nearly, his conclusions are a delusion and a snare as regards the art of tone production.
5A suspicion of incompetency or quackery might not be the most remote conclusion drawn in the minds of many regarding the employment of this composite treatment.
6It is extremely amusing to hear these doctor fellows ask for the "scientific fact" every time voice matters are discussed, just as if the science of anatomy, physiology or acoustics had any necessary bearing upon a course of study in the effort to train the voice.
7How they do scoff at the method of a teacher which is not based upon "science." No matter if the teacher, through practical demonstrations year after year has proved the logical value of the process he teaches, these scientists won't allow that he or his method is of any value to the vocal art.
8Their position in the matter reminds me of an instance that came to my attention awhile ago.
9An old gentleman had built a modern residence and had moved into it from an old homestead. In remarking upon the change he said to a group of friends: "Well, I am well settled now and the familiar heirlooms are in their new places, including the old cat. I'm very fond of my cat—let's see, he has been with us at the old homestead for a dozen years." A prim, precise looking old chap in the party remarked to the old gentleman: "Well, the old cat won't stay at the new house, he will go back to the old homestead." "Oh, no, he won't," responded the old gentleman, "because I have greased his paws with some first-class butter; a cat won't run away if you do that." "Well," said the other old chap, "I don't see the philosophy of that." "Philosophy! Philosophy be damned!" ejaculated the old gentleman. "We have been at the new house now for several weeks and the cat is still there and contented, besides I have known this same thing to have been done on other occasions with other cats, and all I care to know is that every time the cat stuck."
10Of course this didn't convince the other old chap, for he had never had any such experience with the feline race.
11Now, my dear student, I have greased the paws of pupils, metaphorically speaking, for years with the butter of vocal art, versus science, and in every case the good results have "stuck."
12One may have a deal of science on hand, but, like the philosophy in the cat question, it don't count compared with a logical method that through many years of practical demonstration has verified principles advanced for a correct fundamental training of the voice and its consequent preservation for a long career of active service.
13No voice trained upon the "vocal science" plan has ever accomplished desirable and permanent results, and no "vocal scientist" will ever be able to produce a pupil whose efforts will be based upon normal action.
14No, my dear student, you ring the knell of your vocal existence the moment you give yourself up to the baleful influences of "vocal science." These scientists, medicine-men, &c., are unable to discriminate between what is correct and what is corrupt in tone production because of the false standard from which they judge.
15I have little hope for a conversion of any of the arrogant, conceited and overzealous members of this scientific crew to the true and only doctrine of physical effort. There isn't any use of expecting to win them over.
16My dear student, there is evidence now that the interested public is arriving at that point where it begins to distrust the reliability of the statements made by these deluded scientific speculators.
17It is beginning to realize how worthless is the stuff with which these "scientific" writers burden the columns of current periodicals as far as any benefit to the struggling student and the disappointed singer is concerned.
18Let me prophesy, my readers, that the vocal art will soon be rid of this scientific "old man of the sea" that has been riding upon its back for so many years.
19"Vocal science" is an incubus that has blocked the progress of true vocal art.
20It is because of the contaminating influence of the fallacies and the misapplied science of these meddling doctors and vocal scientists, who are often prominent in their respective professions and thereby command a degree of authority, that their theories have obtained credence and been adopted by vocal teachers, the latter multifold, it is sad to relate, and prominent often in their profession, who in turn have thereby dealt a sad blow to the cause of true vocal art.
21Let the doctors stick to their pills and scalpels and the scientists to their accepted vocations, and leave the matter of voice training to those whose knowledge of the vocal art enables them through psychical effort to encompass the difficulties presented in the struggle to gain and develop normal action without scientific knowledge, be it acoustical, anatomical or physiological.
22My dear student, again let me advise you to turn your back on "vocal science" and ignore the speculations of vocal scientists whose fallacies have been the means of degenerating the race of singers until it is now nearly extinct.
24Albert Gerard-Thiers' Cantata Club at M. T. N. A.
25Among the attractions to be heard at the forthcoming Music Teachers' Convention at the Waldorf-Astoria will be the Cantata Club, of which Albert Gerard-Thiers is director.
27Hadden-Alexander's Tour.
28Mrs. Alexander's tour continues successful. Last week she played at Lincoln, Neb., for Sorosis, from women composers—Mrs. H. H. A. Beach, Chaminade and Mrs. Clara A. Korn.
29Some recent press notices follow:
30A brilliant concert was given last night at the First Presbyterian Church by the church choir, assisted by Mrs. Hadden-Alexander, pianist, who added another to the list of triumphs scored by her in Lincoln. The Tausig arrangement of the "Invitation to the Dance," with which she opened the program, is a tremendously difficult number, as is also the Liszt Rhapsody, which she played later, but technical difficulties vanish before her dexterous fingers, leaving her free to interpret in her dashing, brilliant style the ideas of the composer. The group of small pieces with its questions and phantoms, and the sighing of the March wind was very satisfying.—Lincoln (Neb.) Post.
32The piano recital by Mrs. Hadden-Alexander, of New York, last night at the A. O. U. W. Hall met the highest expectations of all who were so fortunate as to hear her. It is an event in a city the size of this to be favored with an entertainment by so great an artist as Mrs. Alexander. Her selections were of the highest order, and the themes, which before playing she so happily outlined, were interpreted in a wonderful manner. Her auditors were entranced, eye and ear, with the magical power of her music. With nothing but her piano and her mastery over it, she made Rubinstein, Schubert and Liszt and others of the great composers live again and tell us of the harmonies of life and nature.—Grand Island (Neb.) Independent.
34Mrs. Alexander's triumph in Omaha at the Exposition opening with the Thomas orchestra was complete. Next week we shall duly chronicle this in our columns.
36PITTSBURG, June 10, 1898.
37It is now announced that Victor Herbert, the new brass band conductor of the Pittsburg Symphony Orchestra, will not have daily rehearsals for three weeks prior to the opening of the Pittsburg symphony season, although this was customary with Mr. Archer, as it is generally customary with all regular symphony conductors. One of the papers here says that his experience in such work makes it unnecessary with him, and that about $2,000 will be saved by this system of economy. The Symphony Society should divide this sum with Mr. Herbert, for it is customary to pay for experience. However, it may be possible that the Symphony Society is desirous to pay for the experience at the end of the season and some believe that it will.
38Instead of rehearsing the Symphony Orchestra, which needs no rehearsing because the bandmaster has the necessary experience to take the place of the usual rehearsing, he will play his band four times a day at the Exposition three weeks before the opening of the symphony season.
39It is reported that while here with the Lamb Fries Mr. Herbert equalized the salaries of the players on a more proportionate basis, so that a man getting $35 a week would not have as a neighbor at the same desk a $20 a week man, reminding us of the Irish axiom, "One man is as good as another and a good deal better." But then Herbert is an Irishman, and an Irish axiom is just his forte next to the usual practice of marching at the head of his band as the Lamb Fries parade through the towns.
40One of our dailies here asserted that when the parade took place here "he marched at the head," "perspiring at every pore." The paper had a reporter down at the Hotel Henry, made famous by the Anna Held public milk bath, and counted all his pores to be sure that each one perspired, and such is the nature of the treatment musical affairs are receiving at the hands of our daily press.
41The system of symphonic concerts here was gradually becoming an educational feature, the public rapidly assimilating a knowledge of the differentiation between popular music and classical music. This knowledge is, of course, essential to the first step toward musical appreciation, and no development can be expected without this preliminary knowledge. All this is now wrecked. The same man who conducts a brass band at the Exposition, who is at the head of a theatrical frolic, marching at the head of a street band through the thoroughfares of a city, the hero of the gamins, is selected to conduct the supposed reposed, aesthetic concerts, dedicated to symphony, to Beethoven, to Mozart, to John Sebastian, to Tschaikowsky! Is it a wonder that we Americans are a laughing stock of civilization in its contemplation of our efforts to debase art?
43ISIDORE LUCKSTONE,
44The Accompanist and Musical Director.
45Style, Repertoire, Finish. VOCAL CULTURE.
46PERMANENTLY IN NEW YORK.
47Studio: 836 Lexington Ave., or address Musical Courier.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.