Evening Star Newspaper, July 11, 1926, Page 48

Thursday evening st 8 o'clock Mra. Robert Lawrence gave a musical with| -|some of her puplls to about 55 guests, time tlds season’ upon the passing cf the present edition of Spring recitals in Washington. The reason for this final emphls.is on the . subject is multiple. First in more than one recital or demonstration of methods in musical training given during the past two months, there hag been marked efficiency and thoroughness shown in the manner in which fandamentals were taught the children or young people. The value of such musical training as the public school classes provide, for instance, ‘canhot be overestimated, and the same is true of many of the private music schools and individual teachers. All thesg instructors spend much time:and energy/in teaching musical facts to youth, Many parents * spend not a flittle money'in the same ‘cause. With flowers, medals, cer- tificates of merit and diplomas, the young folks are encouraged and passed on to. the siext stage—that of 'making more or less practical use 'of what they have ‘starfed t6 learn in music. Now, thé point is how and where \re .they. going to.get the chance to do just this’ thing? o In the 1926 edition -of “Musical America's Guide”—a well compiled IT Seems apropos to comment in this column for the third' and last | a: affairs—which-is fresh from the press, one of the most significant articles’ deals with just this problem under the title of “How to Enter the Cencert Field.” 1t says, in part: o _ 3 % “The day.is past, fortunately, when the student expected to step tudio to stardom ! < . or-the -Mefropolitan Opera In no other field is experience and thopough . preparation more necessary than in the musical realm, and it has been noted in recent years that those who make the most successful debuts in New York have had several J and in some instances are already well known concert artists. “It is not necessary to begin in a big manner in order to reach the top. . ‘One step at a time’ should be the motto of every beginner. Begin. wgereA you are and. the next step will present itself as soon as you are ready for it.’ Build solidly and recognition’ must come in the measure-of yéur gifts. Too many that promise much bask in the limelight for a short time ‘and then disappear from public sight.”.* The most impartant phrasé in that entire g_lrt‘rlph for the young: uate or-student is “Begin where you are.” To use the tools at one’s sand not be too busy looking into distant -heights to see and seize tools- that will build a solid foundation for | problem of the young singer, or musician. ¥ * K Kk ok - Pigs RST of all, now that vacation is here; the student might well spend 2 couple of mornings going over the list of works studied during the past ‘year and checking up on ? the student feels.he really grasped to some extent and those which he has' not: yet conquered to his own satisfaction, regardless of what the “may have said. After all, it is_the individual himself that should E ankest and severest critic. The teacher may soften criticism someti ing-the pupil's sensitiveness; the family can always be relied dvpon to.overpraise his efforts. ‘Therefore, it is up.to the student himself to be, ficst ‘of all,"honiest awith himself and determine just what progress and just where' specifically he has achieved something during the past year. Many. the cases where a student has conscientiously studied a particilar . instrument perhaps for several years and, provided: he has the ability to be. honest with himself, it will dawn upon him.in some such analysis that he has not the real talent for that instrument. There may; however, be some other that will mean much mote to him. Not a few: of the great artists did not begin in that particular art.. There are great singers who were first violinists or pianists; there are many noted composers, who began as organists; there are sevefal ‘instrumentalists who have also studied voice. after some time of study with a nasal bow tone, no matter how fleet' her fingers, the.violin is not the instrument for her. If a student of the jiano can not_draw a wanm, ringing tone from his instrument, all the r: ity that prattice will give will not make him a pianist. If a student of singing does.not' realize that it is the throb of sorrow. or joy in' the | message of the song’s words and melody that really matter, he will never be a‘real singer. i i .. Yet there is no reason such students should feel that music-making {s closed to them. First of all, there may be some other instrument that will prove a much happiér medium. In this field the music department of the public schools, under the general direction of Dr. E. N. C. Barnes, is, ‘doing a really great work for the children while they are still small aud‘be’;re geveral years of money and energy have been spent with the wrong instryment.” In the orchestral classes, under Mrs. Laura F. Ward, many” of the more unusual musical instruments are used with direct training under specialists in each instrumnt taught. One is accustomed to hearing childsen play the simpler works for the piano and violin. . It i;’!m';‘jznm_xl_'md,gxnemely encouraging ral b and development 51 a' musical public in Washington to find "a’ farge group of children learning such instruments as the flute, violoncello, clarinet, drum and saxophone. There.a are the piano classes, in which the tiny children are taught the elem¢nts of harmony, with clever demonstrations of sight-reading, ear-training. nqtosiucn of simple melodies from one key into any other that the chilf’s classmates may. call out, and thg_;ugn-. ning of composition. Undgr Edith B. Athey and her corps of tramed] assistants, this is a valuableWworke laying fundamental“lines for Mrs; Ward and her specialists in the various instruments to develop both in indi and group work: 7, n the so-catted ““Xelody Way,” which is not unlike the Fletcher method used in some of the private schools, and achieves the same ends;| - the general foundation is laid for private teachers to carry on with in teaching the children technical development and eventual phrasing and interpretation in a definite instrument. With such background as this, any student who, after a period of conscientious study in a particular instrument; and a personal review of progress, s sted above, fol- lowed by a frank-interview with his teacher, reaches the conclusion that he should try “another instrument for individual succéss does not. feel unduly depressed hut goes about 'making such a change with intelligent oise. . » * K kK 3 « THERE must be, of course, in this world many, many students who will never develop sufficient talent in any instrument to be great artists; or even concert soloists. For such students, who must earn their livelihood by some othe? _Fro‘ftssion or trade, there are still mm‘ fields for musical participation. There are the school orchestras and choral organizations that offer fine opportunities for participation and ehjoyment of music. The _ public school orchestras of Washington are doing some very things in the way of programs and offering the talented student of a speci: ijnstrument opportunity for public appearance before his comrades as “guest soloist.” Thé same holds true of the fascinating children’s orchestra organized by Frances Gutelius as_the Vipivoce Club, which presents the “Toy Symphonies” of Haydn and Romberg so delightfully. e orchestra il:er‘y.’helpiul work to any one interested in any angle of musical Cat {ean' experience in the provinces G career—that is the|n 1f a student of violin finds herself playing | .. Riese, delfiu:nnd' ‘Wayland Simi At a piano recital given recently by pupils of FEtta Schmid “at: North- nster Presbyterian -Church.-Mary 1l was presented with a gold mwm'x';'w ‘tllort and u:cnml;lllahmem. ng program was given: Duet, “The Pixie Dance” (Bilbro), Amy and Ruth Behrend: ‘‘The North- ern Song’ (Schumann), Mary Carolyn Pointer; “A Curious Story”. (H ln{?, Gertrude _Schloss; | {!‘Ilmont), , “In a Shady Dell” (Bilbro), Mary Jane and Claudie Lea; “The e Man” (Swift), Jane-Lewis Eliza- Parks; “Sing, Rnbin"((guuh::fl): Elzabeth by way of one of New York's concert halls | (Rowe) ii;uu. “Two_ Little Bel hrend; “The Music Box" (Pol- u.n:y n (Chaminade), Marjorie Marie Hardi “‘Melodle in E" tg:hmlnln;% Rhoda and Annette Vit “Wal rior's Song” (Heller), G, Irvin Marti La Bilen Almee” '(Schutt), "Mary Tsabelle Collifiower; “Impromptu N¢ 4" (Schubert), Pansy Marle Willner; “Valcik” ~(Mokrejs), Marian Oster- bstraum No, 3" (Lisat), (MacDowell), Mary Tar- those which, in his or her inmost heart, ¢! Milstos Spring” (Grieg), Miss Emma TEgolf; “Nocturne,” Opus 9, No. 2 (Choplna Miss Gertrude Gilchrist; “Rigoletto’ (Verdi-Liszt), Mrs. Charles J. Cassidy; “‘Consolation, “Scotch Poem” “Traumerei” gian ) Eva Mendelsohn-Rosenberg; “Sonata,’ and “Andante” (Bee-|. No. 2 .(Chopin), etude, * Christiani), and etude, “The (Hanon), Gustav Weckel; " Opus 15, &No. 2 (Chopin), Eva Mendelsohn-Rosenberg; “Valse,” Opus 89, No. 2 (C\hm. Miss Hazel “Prelude” man- ne; sigh”) (Lisat), and \Beihovenh, Mrs. Charles Mrs. Emily Frech Barnes presented her pupils in music and dramatic art at a recital on Saturday evening at her residence studio. The program consisted of piano and vocal. solos, itations, -dramatic and hu- for the general broadening | * Charlotte “Ham- mer, Ethel Thompson, Roberta Frech, Dorothy Dunmire, Margaret Wild- man, Bertha Beans, Alida Johnsonm, Esther Marshman and Mrs. Alma V. Pagdget. . 13| Doumergue’s Free Piano Proves White ? _Elegljnfnt 2 of the Washington College of Music also is a well balanced group of o ortunities for choral prac- youn{ players which does remarkably well. o ne\work with her Tuesday r the singers there are not so many of tice. Mrs. Howard has accomplished some Evening Music Club and Estelle Wentworth’s Girls’ Glee Club gives the young girls in their 'teens some excellent training and practice. The high school choruses are quite comparable with those many other place: “ The Chaminade and Davison Glee Clubs have high aims and directors. ' The Washington Opera Company and The ingtonians offer stage training and the grand opera or musical comedy experience at Washington really neéds for the music student who is about to try his or her wings to gain professional experience along with con tinued training—for, as Madame Schumann-Heink has remarked, no earnest musician or singer ever considers his studies finished—is a local bureau with the imeresy of the local mbsician’at" heart. In New York there is Nati Music Leagu fit-making organization financed by privat i ¥ To<enlarge the concert- public of the United States, to stimulate interest in all musical activities and to enhance the position of music in: our nation ) outlet for young artists—to bridge the gap which-now exists between the time when' the young'artists are_pronounced-by-their teachers ready for the public platform and the time, when y_cal 3 and self-respecting. (3) T% proyide| informdtion ‘of dll kinds in “regar to musical affairs, serving.the clubs, the musie lover; the student,”the manages and the argist: ¥ At the present. time ments to sing or play. on some benefit progrant a another instrument who: are pupils some frien musical performance: the tendency always is t iy upils orw oever is. head.of the ;rolpj othér : sout ngagements or the student come through his father’s business friends; his' mother's club acquaintances; etc | .- i3 % £ i This Nationat:Music League of New York ai i 7 is humanly. possible dird judges applicants on broad musical requirements & '\ as well as’technical ability. =Personality, paise, interpretation, mean so © much! By tabufating this material following ‘the committee’s decisi | each case managers can get it if in search of talent, and the special indj- jual whot does the booking ‘the young artists_for the league has this data always on‘hand.’ In the course of a season 75 young artists who had not_yét established reputations were secured $40,000 worth of engag ments, bringing fées ranging from an ¢ gement up, and rarely 7 reaching more than: f e of this talent is mediocre. The rate of payment is based upon proved talent and the conditio _the engagement. O p,plitlns in son, only ‘advanced by the léague asartists of first rank - 50 more were -c:m s ! T _accompanists, ens! rs in private ‘concert halls -and “vau nd “‘fi,‘ e the ASRIL o1 e omng masicians, In shis seey th . as to the al _of the young mi . In this way the in the go(enioml field is given the best oppertuniti stage gty et faly in this city teachers get theéir students engage- loh, ith-students of ny. large group ‘whre Tisted and: fees his career, Also the community or musical talent and cannot afford to with 3 recognized recommnfll;l:m;. e S for the ambitious and’ markedly t pay mach gt'?@ Olga -receptly wrote f the angles to the g?u: ;—:in’ & yet bave considered a: ho won fame. wi usic is mor 30 much ~and sources of from ~ savii :n‘::ylh to decide t:‘h delicate questi To ‘provide an | can’ become uu-nypponi‘p’ . the Natlonal the coming Costaimn 2 8o 80, of star virt 3 side t‘o fl“i?\ student. Ther€is _concert in Jane Sterling; “Minuet in | Nordlinger; g 3 - . MIRIAM LEOTA HERR one of Heérberi Butler's students, who uated from a post-graduate course by the Amerjean Conserv. She'is the daughter of < THE U. S, MARINE BAND, A'x‘ the United States Marine Bar racks tomorrow at 4:30 pm. a con- cert will be given by the United States. Marine Band, Willlam H. Santeimann, leader. = Taylor: Bragson, secorid Yead: er, will' conduct the ‘following' Rus- Isian program: Glink ) Se! = i tar slan ‘The band will ment Grounds, E-:f' one incipal “Musi ‘ements | witl be given; in honor of the national T ot e TRSintose” tfrom T80 g gk o el -Kopsakow Sulge, u.;m?” Skeiches', “Ivanow 1;;_ ihe VilEEe sureet. T “ooronatigh Yatthl mhqfi_u':fi’ etk In response to numerous requests | Fohiag, earcn Tacarrass St | this program of Russian musié, played |‘March. by the Marine Band at the Sylvan Theater on the night of July 1, is be- ing repeated. % Friday, at 6 At the United States Capitol, Wed. |following program; nesday -at 5 p.m, -a Frénch program | March. 's AL THE program AL the, Sylvan "Theate. Monument | Navy. Bands Grounds, ’;:'i"b“:‘ 3 ¢ : o M “The. National Arabin F. Darcy, the following first concert of to Hospital t;- fim {3 ire, - leadeér, will give its the week at Mount Al morrow-at’ 7 p.m. ‘The program follows: . an incement (£33 orris 0 vd e S R ey e oy solo, “Li ‘| nual Summer master class for has just been ool Naa erke Mr. and Mrs. Horace H. Herr of 1725 Lanier plac®. st. | bers are reci give the following concert at the Sylvan Theater, Monu- ‘Wednesday, at 6:30 T ‘:fl. it, Me. uit, Me. w London, Conn,, and Mass., for brief visits en route to Onnah. returning to ‘Washington about September 15. Richard T. Gare, organist of 'l‘rlnlg Episcopai Church, Mount Vernon, Y., spent a few days in Washi; last* week as the guest of Miss trice Goodwin at-her home, in Chevy Chase, : . Blizabeth Gardner Coombs will fill the position of pianist at the Cleve land Park Congregational Church y Fall Edwin Hughes opened his tenth an- u'!fl June 28. The class by a large number musical educators from Lane, 1sts in Ne Music and the 'vMeva'es | And a Motif of -flie-War them make a fiving, and those whose artistic make-up contains a pretty fair amount of genius, originality or barefaced audacity can usually succeed in gathering in no smaHl amount of the coin of the realm. Time was when struggling composers lived in the traditional and hall bedrooms and composed desperately and doggedly, enliven- morning % : THIS is the golden age for musicians, Ewen fhe most uninspired of - |ing their hours of leisure by reading tales of the struggles of Wagner against hostile critics or accounts of how Schubert went around with patches in his pants. Now they work for the movies. 1 am not counting those who have given up musicianshi, ip in disgust, torn d::qul scores and smashed the family cello against the icebox. There. are less scores of these, but they are declasse, not worth tioni The real ones—those who have been kissed personally by the r:xn:l'::—-hl:v.e discovered that the movies offer substantial rewards in their own field, Every year several dozen so-called feature pictures are produced, gen- erally dealing with some big theme and calling for much more lavish ex- enditures than the ordinary run of movies. After everything else has een done gnd the picture is cut up and censored and ready for presesta- tion there remains one all-important work to be done. The music must be written. ' This must be done by a capable musician and a capable musician ' 'd immediately and paid well. There are any number of composers r vt:lg lng.hc? type now engaged in tllil. sort of work, and it serves as a ‘:ej %::v ::de ine to the more serious Ifns:nels of writing music for posterity- is writing of movie scores is a comparatively new thing. Until 2 recently the scores were generally thrown togeth{r. Th’u‘tn‘is. lnslo:eg; more or less well known compositions were selected and joined in such a way that occasionally the music interpreted to some extent what the picture | was trying to put across. Conductors of some of the larger theaters became adept. at this shuffling and dealing of themes, and in several cases rather be | impressive scores were the result. given during the master class 'by Hughes' artist-puplls. The: Salzburg M Festival will take place August 7 to August 20, uh- der the artistic direction of Clemens Krauss, . Max Reinhardt, Franz Schalk, Richard Strauss and Bruno Walter. The Vienna State Opera, the Vienna Philbarmonic: Society. the Vi enna Mannergesangverein and the Rose Quartet will take part. Dr. Rich- ard Strauss and Clemens Krauss will divect performances of “Ariadne auf Naxos”; Franz Schalk will conduct Moza “Don Juan,” “Les Petits Rienw,” ‘Pergolesi’s . “La Serva. Pa- drona” and Gluck’s “Don Juan;” with the co-operation of the ballet of the Vienna State Opera; Bruno ‘Walter will direct *T1 Seraglio” and “Die Fle- These performances will the Salzburg Theater. Goethe “Faust” will be staged by Max Reinhardt in the Festspielhau: Hugo von Hofmannsthal ‘Every man ofi the Domplatz” and Carlo Goldoni’s “Servant of Two Masters" in the Josetstadt Theater. The newly organized Municipal Or- chestra of St. Paul opened its first season with a concert on' Jume 15, under the direction of Maurice. Mr. Maurice is the jnstigator and founder of the orchestra, which owes its in- ception to his enterprise. The mem- ruited from the Minne- apolis Symphony Orchestra, who we! come this opportunity of g‘l:yin( open- air . concerts during Summer months. St. Paul not had an or- chestra of its own for twelve years. The San Francisco Symphony Or- chestra made its debut as an open-air Summer ol , under the lead- ership of Nikolai Sokoloff at San Ma- teo, June 13. This is Northern Cal- ifornia’s first venture in open-air concerts. The other conductors. en- gaged for the series of eight concerts are Alfred Hertz, Henry Hadley and Ossip Gabrilowitsch. Alice Singer, a native of Muncie, Ind,, has returned to the winner of the Rei ne barp prize of Paris. “Miss Singer studied in Indian. [ Chicago with apolis, and New York, an additiopal four years.in Paris. She ;‘lll make her New York debut in the The band-at Washington Barracks 50, pm., will present the B Sweet for- torhorrow at 5 p.m; T 30 p.m., the | Charles Wise, second leader, is as fol- Vaudeville A';ln A ind itter band will give n":‘.",'!' %p. at the barid- program: ot o fl"fii&-. o ] WOM and Ci]n;;ttel. "I‘QO)}"F think men really admire : women - -who smoke, Margaret - Livingston, exotic. titian beauty,- who plays the vivacious wid- ‘owin-*A:Trip:to Chinatown.” Miss Livingston was the center of a gossip group that included Earle >-Farrell Foxe, . J. > MacDonald and Director:-Robert P. Kerr. ! , asfar cess—"1 think possibly many women smoke merely to make others think they are sophisticated.” “I don't know about. that,” said Miss Livingston, “but.I am convinced, from close observation, that men do not admire women who smoke. They may say they do—but do you? “I'am not lampooning women who smoke. If they want to take the chances ‘that's. their business. I merély look at "“l matter from the man’s angl have a sneaking suspicion that men do not like well. 1 think it spolls the charm.” Lately, however, some ambitious producers have insisted that the scores be written especially for the pictures, and they have employed accomplished persons to do the work. The chances are that in a few more years the custom will have become pretty general, at least for the feature pictures, and consequently the whole business is looked on with satisfaction by composers who have yet to win their spurs. . - L L However, ‘those who can- be affected by this are comparatively w. Those whom the movies have most greatly benefited are those who are still seeking mastery of some musical instrument. In the hundreds of theaters all over the country there are thousands of violinists, cellists, trombonists, bassoonists .and- piccolo players who aspire. to a place in the Philadelphia Orchestra or the- Philharmonic. They comm: good salaries in good orchestras under the direction of conductors, who in a ‘eat many ‘cases are guite capable of training them to do Better things. he ‘whole system works for an ultimately higher standard of musicianship. ability of the average conductor in a movie theater is generally iderable. Most of these men are serious students and in riot ¥ s they are working toward some higher goal. Positions of this kind give them an opportunity 1o exercise their talents in several i They not only conduct the orchestras; but they also write scor same cases compose. ‘Occasionally one suddenly throws up his job, packs himself off to Europe and comes back in a few years with a reputation. The average musical offering during an_evening at the movies is not half bad. After all, however, what the movies ' are doing above ’?verylhml else is raising a school that is in opposition to the “church school” and more akin to the new spirit of freedom from trad al restraints. This may or may not contribute anything toward a na music. for America, but at least it is i PR few. nal teresting to watch developments, * g Strangely, the tustom of having music in the movies arose from the early technical deficiencies of the cinema and was virtually a matter of necessity. In the early days projecting machines made a noise like a lawn mower running over a cobblestone street. . The patrons who had paid a “nickel for a seat heard ‘it and . didn't like it. . Further- more, when the reel was over and the “One Minute Please” sign was flashed on the screen the théater was filled ‘with various and sundry noises, ranging from the cracking of peanut shélls to stamping. and whistling on the part of the younger and more impatient generation. .For the sake of preserving the public peace the theater managers had to do something about it. So they installed pianos. . Along algout 1914 it was customary to be greeted at the inner door with the strains of “Hearts and Flowers” from the piano if a love.scene happened to be in progress, and with Massenet's “‘Elegie” if it happened to be the death of Little Nell. What the thing they.played when the villain came in was nobody but the virtuosi of the piano ever knew, Then after the feature picture was over and before the- Mack Sennett comedy. was flashed on the screen an elderly soprano appeared and rendered “Some- where 2 Voice Is Calling,” with “I .Love You Truly” as an encore. > .:By the time the war was over-the pipe organ had become: the' vogue. ‘With its capacity for imitating-everything from an oboe to_a snare drum, this was a big improvement over the one-man’act. After the pipe organ came the “full” orchestra of half a dozen pieces and later still the “symphony orchestra” of a score or two. However, if there is anything.in the doc- trine of eternal progress there is still hope that eventually the two-orchestra system will be introduced, with continuous playing’except for short intervals to give the audience a chance to whistle the last piec Theaters mow are ‘virtually silent. The projecting machines are muffled, carpets have been installed and peanuts abolished. But the con- ductor or the flutist, in his moments of meditation, can think back on the early days and thank. his stars for. the infant deficiencies of the movies. 1i it had not been for them the silent dfama might still be silent and he might be out of a job. - E : : L . g Apropos of muvie scores, the:noisiest picture that has . ington since the Civil War arrived last Wlnlt’w and .lingered m;mlcnht:d!‘:r:;: “The Big Parade” was written by Laurence Stallings, super-realist of lifer- ature appertaining fo the:recent bad feeling betwéen Germany and a few other_countries, but who the realist who wrote the scora was goodness only knows. The orchestra, as well as could bé counted, consisted of 20 pleces, as foll : Four violins, two cellos, a piano, two trombones, a couple of cornets, & snare drum,-a bass drum, a big bass drum, an imitation machine .gun, two threshing machines, an alarm clock, a cannon and an instrume; that made a nolse like an angry cat. The musical performance was real- istic, not inmartistic, -and altogether a howling success—which shows what rulh_rt: can -cwmpfll:s::hfl prope:‘lykn?pu;al.. S e composer e score took for principal motif that well known. bair,, “Hinky, Dinky, Parley-Voo,"” and the minor m Ve pieces as “You're in the Army Now.” SIS METY DX, 06t i .-;5‘,"‘ first musical hint this country had that a war was going on was n Caruso {n a moment. of abandon than the artistic womanly | Qutdoor Concert Season her mouth does not measure up t: this. Do. you think she does?" e N — e She Needed a. Job. BIA\NCH SWEET, whose next plc- ture is Marshall Neilan's o plomacy” for Paramount, says it it had not been for the fact that she “work Calif.y H A s will Opens in New York City | & The ninth season of outdoor or- [AUgust 4-10, and Frederick Stock of. rts at the Lewisohn |the Chicago Symphony, Augtst 18-24. Stadium in New' York 'City opened| Mr. Sokoloft made his first Stadium last week. Willem van Hoogstfaten | 2Dpearance last Summer, when he - was guest conductor for a week. Mr. Hadley was Stadium conductor in 1921 and 1922, sharing the former season with the late Victor Herbert Mr. Btock will make’ his Stadium'’ debut on August 18, and-his firet™’ appearance here since the Chicago’ f'y’l;\phony" last New York visit in pight’s “Pines of Rom tm,.hn after the At h Lewisohn, donor of the Sta- diurn and honorary chairman of the g “The Jeweled Tree,” a pi Garrett Chatfleld Pier, is for Autumn production. It is based. T every Summer since 1922,| on an Egyptian legend. the season with conduct until July Aiguat 1198 ana tne: Juit. weok, A -31. _ There w 1332 Eye NW,, Apt. 82 Phone Frank. 1467 For Free Voice Trial Reduced Rates for July and August / / ’