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Musical Courier 1898-06-22: Vol 36 Iss 955, 1898
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1attractive and impressive, but this kind of work cannot be taught in classes, or learned in "self instructors," or in lessons sent by mail, telephone or telegraph. Correct cultivation means something besides getting nervous and hopping around a chair and screeching at pupils, something besides bombastic sneering of tone work, or calling Italian arias "chestnuts," or counting time. To be at the head of a college does not necessarily mean that the person is capable of training the voice, nor can we depend entirely upon a teacher who is "just too popular for anything," for sometimes the faddist is in the lead, for he or she will do anything for policy, will accept and give out all kinds of flattery and snubbing for the sake of getting a pupil, while the truly great teachers will not swerve from the true and right course to win, even though they may lose a pupil. One could be able to teach a correct method of singing and not be competent to lead any kind of a band.
3I recently read a criticism on a lady singer. It read that the voice was sweet and natural, but not ruined by methods, although she had been studying for two years. One who sings naturally and sweetly has the true method; that is what method in the true sense means. Simplicity is the essence of the great, the true, the beautiful in art. The critic had undoubtedly read somewhere that Melba's voice had not been ruined by method, so the critic thought a great compliment was being paid to the singer. After reading such a criticism, the student in singing will naturally wonder why a method should ruin a voice when one cannot sing without a method, but a student in singing will hear a great many queer things.
5Now there is a method which will give to everyone possessing a voice all the artistic beauty embodying pathos, brilliancy, articulation, correct interpretation and expression, that is bound to impress an audience. After a certain length of time in study, the singer will lose all thought of self, and think only of the interpretation of the song, an audience will become an inspiration. (The thought of failing never enters the mind of a pupil who has gone through thorough foundation work.) The face lights up with an expression that is most pleasing, but this expression is not planned or practiced on. It comes naturally, just as the tones are taught to come. No matter who may tell you there is no method by which one may sing beautifully, there is, and the person who says there is not should begin at once to seek for a teacher who has the correct method. E. Davidson Palmer, of London, is one that can be relied upon, while there are a few in America.
7All pupils cannot be taught alike, yet that does not signify that the teacher has no method. There are a few simple rules which should be understood at the beginning that will eradicate all such imperfections in tones as cramped, nasal, open guttural, &c., and leave a voice pure, sweet and natural, and when the voice has reached the limit of acquiring volume it will retain all sweetness. By this method more volume can be acquired than in any other way. Do you suppose that you could make our great violin teachers, such as Jacobson and Berisini, believe that there was nothing in method, or our organ teachers, Clarence Eddy and Middleschulte, or our piano teacher, Fanny Bloomfield-Zeisler, believe that method has nothing to do with piano playing? Each one knows that there is a correct method, but not a lot of them. The same can be said of singing. There is a method true to common sense, to scientific and artistic principles which develops a great realm of tone, and from voices, too, that are harsh, nasal, weak and thin.
9The smaller and the more unmusical a voice, the longer time is required to acquire volume and bring it up to a pleasant pitch, but it can be done, and those who really care to sing should not give up the search until they find teachers who can eradicate their faults, for such teachers do exist, and one may as well sing beautifully as ridiculously. Many voices that are supposed to be worn out need only ascertain a correct way to sing, and the voice can be restored to its former youthful ring. One should sing sweetly and musically as long as the body retains health and vigor.
11When our country opens its gates to teachers who teach how to sing, as well as what to sing, then and only then can we expect true singing.
13MARY M. SHEDD.
15Eppinger Conservatory of Music.
17Miss Bessie Strauss, the eminent pianist, will be one of the representatives of the Leschetizky method in conjunction with the large and artistic faculty already retained by Samuel Eppinger, the director of the Eppinger Conservatory of Music. Miss Strauss has studied under Leschetizky for a number of years and is an authentic exponent of that master's method.
19In addition to teaching Miss Strauss, who is an exceptionally fine pianist, will be heard in connection with orchestral concerts and piano recitals to be given by the Eppinger Conservatory next season. The conservatory will be open all summer to those desiring to avail themselves of the opportunity of perfecting themselves in any branch of their art.
21Music in Florence.
23[SPECIAL CORRESPONDENCE.]
2519 VIA DELLA PERGOLA,
26FLORENCE, Italy, June 4 1898.
28FLORENCE "la bella," how winsome and how charming a place in the month of May!
30Seen from Fiesole, or from the summit of some other hill, on a fair, clear morning, or from the lofty top (420 steps) of the Campanile, toward evening, lying there in a sun-lighted valley, bright, with the winding Arno, and shut in by swelling hills, with innumerable spots of interest, all glowing in a landscape of surpassing beauty, steeped in the richest light, Florence presents a picture never to be effaced from the memory of poetic scenes.
32What delightful environs, with enchanting views of the art city of Tuscany; what a horizon, standing out against the golden background of the western sky!
34Who could paint or describe these?
36Like a water lily rising on the mirror of the lake, so rests on this lovely ground this still more lovely Florence, with its everlasting works and its inexhaustible riches.
38From the bold, airy tower of the Palazzo Vecchio—rising like a slender mast—to the wonderful dome of the Cathedral; from the old house of the Spini to the Pitti Palace, the most imposing, perhaps, ever seen; from the garden of the Franciscan Convent to the alluring environs of the Cascine, all are full of incomparable grace and beauty.
40* * *
42And away from this delightful place and out of Italy scores and hundreds of art and Nature loving travelers were hurried by the outrageous rioting going on, not only here, but throughout Italy. Several of the larger hotels, where windows had been smashed, were completely cleared of guests before the close of the second day's trouble, so panicstricken was everybody.
44To restore order it became necessary to call out the military, and arrests were made in great number. Trials of these prisoners are not yet ended, but their prosecution is being conducted vigorously. Florence, however, still remains under martial law, called into force by the Governor, General Heusch.
46Had a body of police like our New York Broadway squad of fine, big fellows appeared on the scene, with orders to "club" the rioters, many of whom were mere boys, I feel convinced that the trouble, in Florence at least, could have been quickly ended by dispersing the mobs, without requiring the soldiery to fire upon them.
48* * *
50Since coming to Florence I have had the pleasure of attending the closing nights of the opera season at the R. Teatro della Pergola, which house was erected in 1638, but remodeled in 1857, with a seating capacity for over 2,000 persons.
52The performances were the first production in Florence of Massenet's "Sapho," on Sunday, May 1, followed by several repetitions, and the giving of Massenet's "Werther," at the same house.
54The cast in "Sapho" was as follows:
56Fanny Legrand…………………Gemma Bellincioni
57Gianni………………………….Carlo Delmas
58Divona………………………….Elvira Lorini
59Irene……………………………Irma Timroth
60Caoudal…………………………Lucio Aristi
61Cesare………………………….Giuseppe Frigioti
62La Borderie…………………….Giovanni Paroli
63Padrone…………………………Luigi Negrini
64Conductor………………………Giovanni Zuccani
66An orchestra of sixty performers and a chorus numbering forty-eight.
68Gemma Bellincioni surprised me greatly by her really splendid acting, and the lady is still a good singer. The tenor Delmas will improve with more study and experience. Aristi acted the part of Caoudal capitally; but as a singer he indulged in the so-much-prevailing tremolo to an extent that made me feel uneasy. The other parts were acceptably taken care of.
70* * *
72Eleonore Duse appeared here in two performances on May 20 and 21 at the R. Teatro Niccolini, the plays being "La Principessa di Bagdad" (Dumas) and "Hedda Gabler" (Ibsen). The prices commanded by La Duse were 15 and 20 lire for orchestra chairs, besides 5 lire for admission, making the charges for seats 20 and 25 lire ($4 and $5); but the house was not any too full with such prices.
74* * *
76To Americans it may seem curious that a seat at the theatre in Italy is not paid for in the price of said seat (or box), but that admission to the house must invariably be paid for extra. This arrangement, I remember, used to trouble and vex me considerably, my argument against it being that when I paid for a seat I should naturally and of necessity be allowed to get to it in order to occupy it. But the Italians do not look at the matter in the same light.
78* * *
80At Ceccherini's, one of the principal music stores in Florence, and where may be found the London edition of THE MUSICAL COURIER, I discovered a circular of a violin teacher, the English of which is so amusing that I must share some of the fun with your readers.
82Thus read the circular:
84Fiddle private School. Professor ________, Laureate and Distinguished Clubber (?) of a certain Institute. Lessons they shall be one hour. The teaching of this Private School agrees perfectly with that of the chief Musical Establishments of the Kingdom, but it shall be accomplished in a time shorter by far and begun at any time whatever.
85To turn accompanists (whatever may be meant by that) aforesaid conditions." (?)
87* * *
89The Florentine Quartetto, consisting of P. Cinganelli and P. Paolini (violins), G. Bellesi (viola) and C. Cinganelli (violoncello), gave the last concert for this season on May 13 at the Sala Filarmonica, with the following program:
91Sonata in A, op. 69, No. 3, for piano and violoncello……………………………Beethoven
92Signorina Bice Pinto at the piano.
93Preludio e Fuga, string quartet…………………Scontrino
94Quartet in B flat, op. 18, No. 6…………………Beethoven
95(The piano used was a Blüthner.)
96(To be Continued.)
97J. F. Von der Heide.
99OBITUARY.
101Frank Elmore.
103FRANK ELMORE passed away at the New York Hospital, this city, at 8:55 o'clock on the evening of Tuesday, June 14, leaving a widow, two sons and three daughters. Deceased was a native of Canterbury, Kent, England, where he was born May 23, 1839. He was known as one of England's favorite concert baritones and teachers of vocal music. He enjoyed the close friendship and co-operation of Sims Reeves, Madame Patti, Mme. Edith Wynne, Santley and Maas, and studied under Balfe and Randegger.
105Mr. Elmore sang in the choir of the Temple Church in London, and he was the first vocalist to take part in Sir Arthur Sullivan's oratorio "The Prodigal Son" at the Crystal Palace, Sydenham, and has composed several songs of note. For many years he made his residence in London, but, his health failing, he was advised to try a change of climate. Accordingly he brought his family to the United States about twelve years ago. Here he resided, at different times, in Charleston, S. C., where he was professor of vocal music in the South Carolina Conservatory; Baltimore, Md., where he was choirmaster in the Protestant Episcopal Church of the Ascension and Christ Church, and in this city, where he was at one time connected with the New York Conservatory of Music, and at the time of his death had charge of the music in connection with the work of the City Missionary Society in the Tombs and Ludlow Street Jail.
107Birdice Blye.
109Miss Birdice Blye plays for the Authors' Association from June 27 to July 2, during the week of their annual meeting, making her seventh engagement before the association. The next week she will give recitals before the Winona Assembly at Winona lake.
111Philadelphia School of Vocal Music.
113The last meeting of the "critical class" of this school was held in Miller Hall on the evening of June 9. The program was conducted by Frank Hotchkiss Osborn, principal of the school. Mr. Osborn and various members of the class sang. The feature of the evening was the singing of Miss Dora Louise Topping, who as assistant teacher has been associated with Mr. Osborn and has studied interpretation with him throughout the winter. Miss Topping sang songs by Chadwick, d'Harleot and Gounod.
115Speaking of Miss Topping's singing at the concert of the Cecilian Musical Club of Norristown on the evening of June 7, the Norristown Herald says:
117Miss Topping is a student of the School of Vocal Science, 1308 Walnut street, Philadelphia, of which Mr. Osborn is principal. Her vocal solos were received with great enthusiasm by the audience. This talented young lady has been successful in teaching as well as in her own singing.
119Mr. Osborn closes the Philadelphia school on June 24 and opens his summer school at Asbury Park July 1. The fall term at Philadelphia opens September 15.
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