Scan 14
Musical Courier 1901-01-23: Vol 42 Iss 1087, 1901
102 lines. Read by computer on 21 September 2026. Printed page 15. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1THE MUSICAL COURIER.
3considerations of inferior rank," should not pass unchallenged by any true disciple of the Virgil method.
5Imitation may be the sincerest flattery, but it is by no means always a profitable compliment. There may be music schools and teachers galore professing to teach the Virgil method, whose sole claim and equipment thereto consists in the possession of a Virgil Practice Clavier instrument; yet they are utterly lacking in the knowledge of the fundamental principles underlying the Virgil system of piano technic. There might be some sympathy for those well meaning but misguided souls, who, through lack of opportunity and proper instruction, are limited to but a superficial understanding of the method. No such consideration, however, can be urged for those who deliberately reject or distort the true principles involved in the Clavier method, insisting upon their own ideas and theories, thereby doing great harm to the cause. In the hands of such would be exponents the Clavier system would likely fail of its highest results. They afford the best proof that "a good principle wrongly applied may do as much harm as a bad one."
7I ask, therefore, in all candor, is it fair to judge any method by the bad results following a faulty practice of the same?
9The idea, unworthy not merely of "The Philistine," that the hand is the most powerful means of thought expression, and to quote more literally, "The cultivation of the hand so that it may be able to express the ideas of the mind," conveys a truth in harmony with Mr. Virgil's teachings.
11Those who have had the privilege of hearing Mr. Virgil's lectures have been impressed with the great stress laid upon the exercise of the higher—the mental—faculties in the interpretation and execution of high class music. The first step, as the eminent exponent insists, is for the mind to think—to comprehend the musical thought or theme presented. Next in order the soul must feel the sentiment or emotion to be expressed, and then may the well trained hand execute the notes so as to produce the most artistic effects, thus proving the absolute unity and harmony in action of the head, the heart and the hand.
13It has been something of a revelation to visitors at the Thursday evening recitals of the Clavier Company Piano School to hear the wonderful variety of expression of accent, tonal coloring, fortissimo and pianissimo effects possible in the rendition of ordinary scales, arpeggios, &c. As one lady remarked after such a performance: "Who would think there could be so much light and shade of expression, so much music in just plain exercises!"
15Truly, Dr. Hanchett's criticisms, though they may be sincere on his part, are not such as to command the approval and confidence of any thoughtful, fair minded people.
17With all due regard to Dr. Hanchett, I subscribe myself,
19Very truly,
21BERTHA M. HOBERG.
23BOSTON, January 10, 1901.
25Editors The Musical Courier:
27I have read with much interest Dr. Hanchett's letters upon the Clavier method in your recent issues. He has said so many good things that I would congratulate him were it not for a few grating statements.
29I agree fully with him that "the subject deserves general public discussion." The demands made upon the up to date piano players are so great, both on account of the music to be rendered and the piano that is to be played upon, that it is high time old methods were shelved. We demand, too, that things should be more systematized, and if there are any short cuts that are legitimate and produce the desired results, let us have them as soon as possible. I am fully in accord with him in the belief that the Virgil Method and Practice Clavier will produce these results. But when the doctor says that "quality of touch, artistic expression, beauty, culture, music are considerations of inferior rank" with Mr. Virgil, I must protest most emphatically. It is not so. I have known Mr. Virgil intimately for about eight years, and if he has a predominating "hobby" it is the matter of tone quality.
31I have yet to meet a person who demanded more in that direction or who understood half so well the "cause" for good fundamental tone quality. You will note I do not refer to "tone color"; there should be a distinction, and here, it would seem to me, is a point on which the doctor seems confused. The matter of "tone color" should come later, when the study and interpretation of pieces is in hand and "effect" is rightly the foremost theme.
33Every person who understands the cause of a good tone can tell you at once that the quality and weight of muscles, and the quality of finger, hand and arm actions determine whether the tone will be good or bad. Mr. Virgil, or anyone else who thoroughly understands his method, can tell exactly what the effect will be after an examination of the muscles and noting the quality of actions, whether at the Clavier or at a table. Certainly he demands even, rapid scales and arpeggios, effective chords, &c., but never at the expense of tone quality, and no more than is demanded in the pieces to be played.
35If the acquisition of a liberal amount of technic was a matter of years, I might, with a clear conscience, join hands with the doctor, but it is not. With a person blessed with a good mind, a decent playing apparatus and a willingness to work, it is a matter of months rather than years by modern methods. Music is not neglected by Mr. Virgil; pieces are given almost from the start, but not pieces that appeal strongly to the emotions; rather pieces in which technic is the principal feature, and so simple that the principles already in hand may be applied without the danger of losing the ground acquired. Musical pictures are not painted at this junction, but the given marks of expression are strenuously observed and the phrasing carefully noted.
37Mr. Virgil wisely takes up his work in the following order, which is worthy the consideration of any thoughtful teacher or student of the piano: The technical, the intellectual, the musical and the emotional, and to my mind the reason he is so much criticised for overdoing the technical side is that most of his pupils have been teachers, who for various reasons cannot remain with him long enough to get beyond the first two steps, and must leave with but a few hints about the third, and rarely touch the fourth.
39I suspect from reading Mr. Virgil's letter in your issue of December 26 that this is so in the doctor's case, for it hardly seems possible that he would make such sweeping statements if he had carried the technical exercises to a reasonable degree of velocity and applied the principles to pieces under Mr. Virgil's direction.
41I think after a second consideration the doctor would prefer to efface the last paragraph in his second letter, in which he refers to "1,280 notes to the minute at 20 ounces." This is worse than nonsense; he knows better; his pen evidently ran away with him.
43Last year I attended a piano recital, given by a well-known virtuoso, with Mr. Virgil. Afterward we commented in a general way upon his temperament, artistic phrasing, tone quality, effective chords and the beautiful legato in his passage playing (and his legato was not of the overlapping type indorsed in Dr. Hanchett's third epistle, which is only applicable to cantabile passages, melody playing, &c., and a very dangerous thing if taught as a first principle). I do not recall that a word was said with reference to his brilliant technic, though there was enough and to spare.
45Whenever the happy day arrives and technic is no longer a barrier, we do not care what the player does to produce his effects—the farther he gets from a show of "method" the more enjoyable the performance. Let him take long deep draughts from the "emotional," let him paint his most gorgeous pictures, hang from the clouds for awhile if he chooses, fill himself with red wine, and if there is to be a show of blood let it be the proper color and heat, but for the sake of humanity stab to the heart those morbid sentimentalists who go about in sackcloth and ashes, whose playing either puts one to sleep or drives one in a rage to the nearest beer shop. Give us the merely mechanical player; he is interesting if only a good mechanic in preference to the sentimentalist. He ("she" predominates, though "he" exists) is a bore.
47H. S. WILDER.
49Success of Mantelli.
51[BY CABLE.]
53LISBON, Portugal, January 16.
55MANTELLI in "Carmen" scored a great success at the opera here last night, being recalled twelve times.
57H.
59George Hamlin, Sydney Biden and Mrs. Edwin N. Lapham Classic Recital.
61THE recital announced by George Hamlin and Sydney Biden will be held at University Hall, Fine Arts Building, Chicago, Thursday evening, February 7, and not February 5. This will be a classic song and duet recital, in which some most attractive novelties in song literature will be presented. Mr. Hamlin will sing a set of songs from the pen of a Swedish composer, Emil Sjögren by name, which are gems and have never been given in Chicago. Mr. Biden will offer some songs written by a young German composer named Hugo Brückler, who died some twenty-five years ago, but who, had he lived, would undoubtedly have become one of Germany's greatest composers. As it is, the few works left by him, among which are the songs Mr. Biden will sing, prove him to have possessed remarkable genius.
63Mr. Hamlin will also sing a group of Brahms' and Mr. Biden a group of Robert Franz's songs. However, not the least in importance will be the duet singing by these two artists, something which is not often furnished the public. Duets by Rubinstein, Schumann, Hildach and Götz will be sung.
65Mrs. Edwin N. Lapham has consented to play the piano parts at the concert, an announcement of considerable importance. Mrs. Lapham is not a professional in the full sense of the term, a fact which is regretted by all musicians who know her worth. The piano parts, especially of the Brückler and Sjögren songs, are extremely difficult, and the manner in which Mrs. Lapham masters them will be a treat to the public as well as a great assistance to the singers interpreting the songs.
67Messrs. Hannah & Hamlin announce Mrs. Edwin N. Lapham and Charles W. Clark in a recital of German, French and English songs for Monday evening, February 11, 1901, at University Hall, Fine Arts Building, Chicago.
69Hannah & Hamlin.
71CHAS. R. BAKER, representing Messrs. Hannah & Hamlin, still reports important bookings on the road. Among the principal dates booked within the last few days are as follows: Miss Gertrude Judd, Chicago, January 24; Miss Electa Gifford, Detroit, in February, and Toledo March 4; Charles W. Clark, Detroit and Lafayette, in February; Miss Gertrude Judd and George Hamlin, Detroit, in March. One of the most important engagements recently booked is with the Chicago Orchestra for March 8 and 9, when Mrs. Genevieve Clark Wilson, Mrs. Sue Harrington Furbeck, George Hamlin and Charles W. Clark will sing Beethoven's Ninth Symphony and the "Benedictus" from his Mass in D, under Mr. Thomas' direction. Several other important dates are still pending. Mr. Baker returned to Chicago this week to prepare for another trip, which will take him West and South.
73HUGO BECKER,
74"The Supreme Master of the 'Cello."
75(HAMBURGER NACHRICHTEN.)
76IN AMERICA:
77January, February and March.
78Pianoforte Recitals
79BRAHMS and other Modern Composers.
80ADDRESS: THE HENRY WOLFSOHN MUSICAL BUREAU,
81131 East 17th Street, NEW YORK.
82Mr. ARTHUR WHITING,
83Western Tour, January, 1901.
84Address M. E. DORMAN, 246 Fifth Ave., New York,
85For Terms, Dates and Program
86MICHIGAN CONSERVATORY OF MUSIC,
87DETROIT.
88ALBERTO JONÁS, Director.
89Heads of Departments: ALBERTO JONÁS, Piano; ILSA von GRAVE-JONÁS, Piano; MAURICE de VRIES, Voice; HENRI ERV, Violin; F. L. ABEL, 'Cello; N. J. COREY, Organ; JEAN Van der VELPEN, Harmony, Counterpoint, Composition.
90Catalogues mailed free. Address F. L. ABEL, Secretary.
91CORPS OF TWENTY-EIGHT EMINENT INSTRUCTORS.
92BROAD STREET CONSERVATORY OF MUSIC,
93GILBERT:RAYMONDS COMBS, Director.
941331 South Broad Street, Philadelphia, Pa.
95ILLUSTRATED CATALOGUE FREE.
96CHARLES HUMPHREY
973631 Olive St., St. Louis, Mo. TENOR.
98GENEVA JOHNSTONE-BISHOP, SOPRANO.
99CHAS. L. YOUNG, Manager.
100Oratorios, Concerts, Recitals, Festivals.
101Residence: Hotel St. Andrew. Studio: Carnegie Hall, NEW YORK.
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