Books › Musical Courier 1907-03-20: Vol 54 Iss 12, 1907 › scan 14
Scan 14
Musical Courier 1907-03-20: Vol 54 Iss 12, 1907
70 lines. Read by computer on 26 September 2026. Printed page 15. See the scan on archive.org.
1MUSICAL ART CULTURE IN CANADA.
2By C. E. SEIFERT,
3Director of the Montreal Conservatory of Music.
4(Concluded.)
6The writer does not see the necessity for elaborate display of apparel at art functions; esthetic plainness would, in his opinion, be much more appropriate. Gorgeous gowns serve but to attract the attention of many who would be much more edified by listening to the music. Another indication of the absence of real love for music obtains in the practice, only too prevalent, in our concert halls, of conversing during the performance. Besides being an evidence of absence of artistic temperament, it also indicates bad breeding.
8Then again, there is the "coming late" nuisance. At many of our concerts the opening pieces are entirely spoiled for those who wish to hear them by the ostentatious audible remarks of delinquents.
10This custom can only be cured by adopting the rigid measures taken in Europe, where the doors are closed as soon as the conductor ascends the platform, and they may not be opened till the end of the first act, or overture, as the case might be.
12If we pretend any claim to being a musical community, we must develop in ourselves and nurse in our children a real, deep affection for the art. Love is the secret of all work, all progress. Without it comes stagnation, then decay. We must take care what we love, and having chosen, love with all our heart.
145. There is in Montreal particularly a ridiculous attempt at establishing various grades of social status, without logical basis.
16In the absence of an hereditary aristocracy, the only foundation upon which to base the distinction is that of monetary possessions.
18This condition is a serious obstacle to the development of art, which equalizes all things, in whose temple all may worship upon complete equality. We must—in the interest of all that is artistic, all that is aesthetic—forget this burlesque caste system we have set up. Let us discontinue the worship of a god made with hands; let us turn from this brazen calf, and aspire to that which is made by a Higher Power than man—all there is of beautiful in this world of ours. Let us make the attributes of the mind rather than those of the body the supreme test of social status. Thus it is in the grand old countries of Europe, whence comes all that is noblest in art. Thus only shall we become worthy to climb Parnassus.
206. Our clergy should possess a musical education. First, that they may be competent to control the musical part of the church services—too often left to the judgment of an incompetent organist. Secondly, that they may influence their congregations to seek the best in music. Thirdly, that they may be able to give a competent opinion on debated musical questions outside their immediate parochial work.
22Through ignorance of the art, music is regarded with suspicion by many who should know better. These one-eyed philanthropists will admit the elevating influence of e.g., some grand symphony on Monday, but they insist that the same piece performed on Sunday has a demoralizing effect! The absence of logical sequence is obvious.
247. There is too much conceit in the majority of our aspirants for musical honors, born, perhaps, of the robust self-esteem of a young country with great natural resources, and a rapidly growing commercial position.
26They do not like to play in "ensemble," such as chamber music (home music, for three to nine instruments), because they must divide the honors with others. They much prefer to play in solo, and so be the cynosure of numerous admiring eyes. Yet chamber music is the beginning of real music, which is completed in the orchestra. Only with a collection of these various instruments may we produce the light and shade which constitute the soul of the art.
28We must teach our children to sink the ubiquitous "ego" in their pursuit of knowledge; to study art for art's sake. Let them hear only the best music. We should feed their minds as carefully as we feed their bodies.
308. There is in this country a deplorable dearth of encouragement to art on the part of the press which would do well to emulate the example of the European journals in this way. We are treated to whole-pages chronicling how this horse, or this boat is now two feet ahead; now six inches behind its rival. We are given all the harrowing details of how A administers a "knockout" blow to B; or how a football was now two feet from this point, and X carried it across to that point, whence it was taken by Y in another direction altogether; interesting information, no doubt, but hardly of vital importance to the advancement of the national mind.
32And in spite of all this, one has almost to supplicate (or pay) for a quarter-column to be devoted to art.
34We know the plausible excuse, "we must cater to our readers." This is the cry of a paid mouthpiece. Surely the press has a higher mission than this. Is it not to educate the mind of the people?
36The press could do a great deal to raise the standard of art by taking a fearless stand as a critic (assuming that it is competent). It might, at the outset, bring itself into disfavor with a few pseudo artists, whose houses are built on the sand, but it must eventually emerge unscathed, and it will have established for itself a recognized position and authority on aesthetics. The journal which can and dare do this will become for the public a bureau of information where they may at least learn the truth.
389. Our youth have for the most part become slaves to mere physical development and pleasure, commonly called "sport."
40The most ruthless materialist could hardly extol the condition of the public mind which renders it possible for the attendance at an exhibition of some masterpiece of art to be fifty, while that at a horse race will reach five thousand.
42"Mens sana in corpore sano" is an excellent motto, but it implies an even development of the "mens" and the "corpus." To make it applicable to a great number of our acrobatic enthusiasts it should read: "Mens insana in corpore sano."
44Let them sigh for animal development who need it in the struggle for existence. To those who extol man's perfection in bodily rather than in intellectual development, we would suggest the words of Robert Browning:
46"What is he but a brute
47Whose flesh has soul to suit,
48Whose spirit works lest arms and legs want play?
49To man propose this test—
50Thy body at its best,
51How far can that project thy soul on its lone way?"
5310. There is yet one other condition which seriously handicaps the culture of music in Canada. I refer to the absence of any set standard for the exponents of this sublimest of arts. Instead of it being one of the learned professions, it is reduced to the level of a "shift" to make a living; and all because there is no control.
55Men are not permitted to practice medicine indiscriminately without proper guarantee of qualification, and yet these doctors of the mind, these messengers of the Muses may kill the minds of the unsuspecting youth as they please; and a wise Legislature keeps on making laws to tax the importation of works of art!
57We can only pray for better things, and endeavor to keep before our children the pure light of true art.
59Finally, we must make of music a real study—something to be carried always and everywhere—a life partner. We must not pack it away in summer with our fur coats.
61But let us love and reverence it as the grandest of arts, the greatest, highest influence for good in any nation—the universal medium through which the mind of the whole world may find expression, the beautiful language of the soul.
63When we have accomplished all this, then, and only then, may we claim in any way to be a "musical race."
65Genevieve Clark Wilson's Success.
67Genevieve Clark Wilson, under the concert direction of Walter R. Anderson, has had a successful season. The soprano has appeared with many of the leading societies. A partial list of her bookings include Oberlin (Ohio) Festival; Handel and Haydn Society, Boston (two engagements); Lexington (Ky.) Choral Society; Apollo Club, Chicago; Mount Vernon (N. Y.) Choral Society; Allentown (Pa.) Euterpean; Yonkers (N. Y.) Choral Society; Cleveland (Ohio) Harmonic; Montreal Philharmonic Society; Kneisel Quartet, Norfolk, Conn. The singer is also booked to appear with the People's Choral Union, of New York, in "The Messiah," at the Hippodrome, on April 10; in a performance of Brahms' "Requiem" with the New Haven Choral Society, and festivals in Ohio and New Hampshire.
69All readers of The Musical Courier who contemplate studying in Prague are invited to communicate with The Musical Courier correspondent, R. Gatty, care of Anglo-American Club, Hotel de Saxe, Prague, who will be glad to answer all inquiries.
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