tag:blogger.com,1999:blog-80463278008698069482024-03-12T19:35:52.019-07:00The Etude GardenThe Etude Music MagazineJesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-8046327800869806948.post-574515718639475622014-03-14T06:55:00.000-07:002014-03-14T06:55:37.446-07:00Dyer & Hughes<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50oQtCryMGNdVUEH5w40aNuOUyOWUQvp73sB3Wjlpxvo2s-scdHTYOaIIiV6mFQnxqk9KP31iBAw4ceERGi28WaAu6U6Pp0A5GIm_Kvwa0gYqfC3_kk_DcuWGk8w1NyZK4tJXdu5136aB/s1600/1892NovemberDyerandHughes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50oQtCryMGNdVUEH5w40aNuOUyOWUQvp73sB3Wjlpxvo2s-scdHTYOaIIiV6mFQnxqk9KP31iBAw4ceERGi28WaAu6U6Pp0A5GIm_Kvwa0gYqfC3_kk_DcuWGk8w1NyZK4tJXdu5136aB/s1600/1892NovemberDyerandHughes.jpg" height="640" width="330" /></a><br />
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THE ETUDE MUSIC MAGAZINE –November 1892 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com2tag:blogger.com,1999:blog-8046327800869806948.post-44906377204110005252014-03-03T10:10:00.001-08:002014-03-03T10:10:51.536-08:00A Great Poet as a Music Critic<!--[if gte mso 9]><xml>
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<i><a href="http://en.wikipedia.org/wiki/Heinrich_Heine" target="_blank">Heinrich Heine’s</a> Relation to the Great Masters of Music</i> </div>
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By Tod Buchanan Galloway</div>
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IN THAT MOST INTERESTING book, “That Man Heine” by <a href="http://lewisbrowne.org/" target="_blank">Rabbi Browne</a>, there is nothing finer or more dramatic than his closing words in which
he graphically depicts the agonizing death scene of the unfortunate
writer.<span style="mso-spacerun: yes;"> </span>He says, “Frightful convulsions
set in and his thin white face was distorted with the agony of the last
moment.<span style="mso-spacerun: yes;"> </span>Then the rigidity passed and his
face became calm once more.<span style="mso-spacerun: yes;"> </span>The fires
died down in his eyes; the bloodless lips no longer curled.<span style="mso-spacerun: yes;"> </span>The smile of <a href="http://en.wikipedia.org/wiki/Mephistopheles" target="_blank">Mephisto</a> was gone and only the
sweet benignity of the <a href="http://en.wikipedia.org/wiki/Nazarene_%28title%29" target="_blank">Nazarene</a> suffused the face of the poet.<span style="mso-spacerun: yes;"> </span>For at last Heinrich Heine was at rest.<span style="mso-spacerun: yes;"> </span>‘Olav La-Shalon,’ his brethren in Israel
could now say of him:<span style="mso-spacerun: yes;"> </span>‘Peace is upon
him!’<span style="mso-spacerun: yes;"> </span>For his exile was ended, he was at
home at last—he belonged.”</div>
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<span style="mso-tab-count: 1;"> </span>It is
not generally known that the name of this widely gifted, most unhappy man was
not Heinrich but Harry, as he was named for an English merchant, a Mr. Harry
with whom his parents did business.<span style="mso-spacerun: yes;"> </span>It
was not until he apostatized from Judaism and accepted the Christian religion
that he emerged as Heinrich Heine, by which name he became known, and by which
name he will be famous through the ages.</div>
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<span style="mso-tab-count: 1;"> </span>A poor,
miserable, unhappy genius, who “completed the circle of faith through Judaism,
Catholicism, Paganism, Protestantism, Atheism and <a href="http://en.wikipedia.org/wiki/Saint-Simonianism" target="_blank">Saint Simonism</a>, he returned
at last to is starting point, that battered, despised by (for the Jew)
apparently inevitable religion called Judaism.”</div>
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<span style="mso-tab-count: 1;"> </span>Heine
once wrote to his brother Max, “All the troubles of my life have not come
through any fault of mine but as a necessity of my social position and my
mental gifts.”<span style="mso-spacerun: yes;"> </span>Abuse and neglect from
which he suffered all his life, poisoned him spiritually and broke him
physically.<span style="mso-spacerun: yes;"> </span>At times his nerves were so
raw from incessant vexation and his body so poisoned with disease that he
really did not know what he was doing.</div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The Jew Despised</i></b></div>
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IT IS ALMOST IMPOSSIBLE for those of us who live in the
present age to appreciate the unhappy—almost barbaric—indignities under which
the Jew lived in Germany during the lifetime of Heine, no matter what may have
been his genius and abilities.<span style="mso-spacerun: yes;"> </span>To
appreciate the conditions against which such a man labored and contended makes
it more possible to know and understand the bitterness and rancor which
affected his whole life.</div>
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<span style="mso-tab-count: 1;"> </span>As one
has said, he was one of those hapless creatures to be fated—inexorably
fated—never to enjoy rest and quiet; one for whom no place had been reserved at
“the festal board of life.”<span style="mso-spacerun: yes;"> </span>Partially
the fault of his own temperament, but largely the fault of the world.<span style="mso-spacerun: yes;"> </span>As an example of the intolerance and
blindness of the German Confederacy at this time, in 1835 it passed what Browne
characterizes as one of the most preposterous legislative enactments in all
modern history.<span style="mso-spacerun: yes;"> </span>It was a blanket
proscription of all books which ever had been written by any member of what was
known as the <a href="http://en.wikipedia.org/wiki/Young_Germany" target="_blank">young Germany</a> group, and also of all books any member might write
in the future.<span style="mso-spacerun: yes;"> </span>Of this group the most
brilliant member by far was Heine.</div>
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<span style="mso-tab-count: 1;"> </span>Heine
was essentially a modern poet.<span style="mso-spacerun: yes;"> </span>He
revolted against all imitations of classical poetry; so he became the founder
of a new school of poetry, not only for Germany but also for the whole
world.<span style="mso-spacerun: yes;"> </span>He was not only a lyrical poet
but also a poet of the sea, a writer of ballads and romance and the poet of
liberty.<span style="mso-spacerun: yes;"> </span>Had he not been preeminent as a
lyric poet, his ballads and romances alone, like <a href="http://de.wikipedia.org/wiki/Die_Grenadiere" target="_blank"><i style="mso-bidi-font-style: normal;">Die beiden Grenadiere</i></a> and <a href="http://www.youtube.com/watch?v=FhE3tVARBao" target="_blank"><i style="mso-bidi-font-style: normal;">Die Wallfahrt nach Kevlaar</i></a>,<span style="mso-spacerun: yes;"> </span>would have
made his name famous.<span style="mso-spacerun: yes;"> </span>No other German
poet, with the exception of <a href="http://en.wikipedia.org/wiki/Johann_Wolfgang_von_Goethe" target="_blank">Goethe</a>, ever made his verse so completely the
verbal embodiment of music.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDNSOiSLxXWWCe8mSgRM5cXwwrdUPHsQplZoyPlfi46vHPVmhxqoW7oc2B_DZ640_O79um4y9N-7UZb4asnUsnCpEPFG7hPB2eADbnh6O6lDK8CKfH8CETyFXq8-q_QwvKXI2cO3wVbvL-/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDNSOiSLxXWWCe8mSgRM5cXwwrdUPHsQplZoyPlfi46vHPVmhxqoW7oc2B_DZ640_O79um4y9N-7UZb4asnUsnCpEPFG7hPB2eADbnh6O6lDK8CKfH8CETyFXq8-q_QwvKXI2cO3wVbvL-/s1600/divider.jpg" height="24" width="640" /></a></div>
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<span style="font-family: "Bookman Old Style","serif";">Enjoy Robert Schumann's composition with text from Heinrich Heine's <i>Die beiden Grenadier</i> performed here by <a href="http://www.terfeliaid.co.uk/" target="_blank">Bryn Terfel</a>, baritone and <a href="http://martineau.info/" target="_blank">Malcolm Martineau</a>, piano:</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/8KMjt6fRJG0?feature=player_embedded' frameborder='0'></iframe></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDNSOiSLxXWWCe8mSgRM5cXwwrdUPHsQplZoyPlfi46vHPVmhxqoW7oc2B_DZ640_O79um4y9N-7UZb4asnUsnCpEPFG7hPB2eADbnh6O6lDK8CKfH8CETyFXq8-q_QwvKXI2cO3wVbvL-/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDNSOiSLxXWWCe8mSgRM5cXwwrdUPHsQplZoyPlfi46vHPVmhxqoW7oc2B_DZ640_O79um4y9N-7UZb4asnUsnCpEPFG7hPB2eADbnh6O6lDK8CKfH8CETyFXq8-q_QwvKXI2cO3wVbvL-/s1600/divider.jpg" height="24" width="640" /></a></div>
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<span style="mso-tab-count: 1;"> </span><a href="http://en.wikipedia.org/wiki/Georg_Brandes" target="_blank">George Brandes</a> characterized him as “the thistle in the garden of literature.”<span style="mso-spacerun: yes;"> </span>Not only because he pricked most people who
came near him but also because he too was the product of neglect.<span style="mso-spacerun: yes;"> </span>This was the man whom Brandes said was “the
greatest lyric poet who ever had lived in Germany—the greatest who had ever
lived.”</div>
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<span style="mso-tab-count: 1;"> </span><a href="http://en.wikipedia.org/wiki/George_Eliot" target="_blank">George Eliot</a> said of him, “His greatest power as a poet lies in his simple pathos, in
ever varied but natural expression he has given to the tender emotions.”<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/Die_Lotosblume" target="_blank"><i style="mso-bidi-font-style: normal;">DieLotusblume</i></a>, <i style="mso-bidi-font-style: normal;"><a href="http://www.youtube.com/watch?v=c5W3qGUa9XU" target="_blank">Ich Grolle Nicht</a>, <a href="http://www.autodidactproject.org/other/heinepoem.html" target="_blank">EinFichtenbaum Steht Einsam</a>, <a href="http://www.youtube.com/watch?v=YdTmZ588rX4" target="_blank">Vergiftelsind neine Lieder</a></i>, were set to
everlasting song by the leading composers in the world, Schumann, Schubert,
Mendelssohn and Wagner; and the whole world has sung them.</div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The Poet Musical</i></b></div>
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<br /></div>
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THE INTERESTING STORY of Heine’s life—sad as it is—is not,
however, the purpose of this article for The Etude but rather as to how he came
in touch with music and his abilities as a musical critic.</div>
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<span style="mso-tab-count: 1;"> </span>When
finally, in 1831, Heine had been hounded out of Germany for his political and
literary efforts, he took refuge in Paris where he was much happier than in his
native land.<span style="mso-spacerun: yes;"> </span>Here he found the French
much more liberal in their treatment of the Jewish people; and his position,
socially and artistically, was much happier.<span style="mso-spacerun: yes;">
</span>As he wrote, “Ah! the sweet scent of Parisian politeness.<span style="mso-spacerun: yes;"> </span>How it refreshes my soul, after all the
tobacco smoke, sauerkraut smell and rudeness it swallowed in Germany.”</div>
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<span style="mso-tab-count: 1;"> </span>All the
pangs of leave taking from the Fatherland—and they had not been slight—were
forgotten in the ecstasy of his first sight of the holy soil of the
boulevards.<span style="mso-spacerun: yes;"> </span>Here his parched soul found
a freedom, a gayety and a politeness such as he had never known before.<span style="mso-spacerun: yes;"> </span>Here he<span style="mso-spacerun: yes;">
</span>became acquainted with such literary lights as <a href="http://en.wikipedia.org/wiki/Th%C3%A9ophile_Gautier" target="_blank">Gautier</a>, <a href="http://en.wikipedia.org/wiki/Alexandre_Dumas" target="_blank">Dumas</a>, <a href="https://en.wikipedia.org/wiki/George_Sand" target="_blank">George Sand</a>, <a href="http://en.wikipedia.org/wiki/Alfred_de_Musset" target="_blank">de Musset</a> and Bergner.<span style="mso-spacerun: yes;"> </span>He also
came to know <a href="http://en.wikipedia.org/wiki/Gioachino_Rossini" target="_blank">Rossini</a>, <a href="https://en.wikipedia.org/wiki/Hector_Berlioz" target="_blank">Berlioz</a>, <a href="https://en.wikipedia.org/wiki/Franz_Liszt" target="_blank">Liszt</a> and <a href="http://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin" target="_blank">Chopin</a>.</div>
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<span style="mso-tab-count: 1;"> </span>He had
made an arrangement with his friend, <a href="http://en.wikipedia.org/wiki/Johann_Friedrich_Cotta" target="_blank">Baron Colta</a> [sic], to furnish the <a href="http://en.wikipedia.org/wiki/Allgemeine_Zeitung" target="_blank"><i style="mso-bidi-font-style: normal;">Allgemeine Zeitung</i></a> with regular letters
from Paris.<span style="mso-spacerun: yes;"> </span>These at first were almost
wholly art articles.<span style="mso-spacerun: yes;"> </span>Heine had no real
knowledge of art, but such was his versatility—he was a born journalist—that he
could make any subject entertaining and amusing.<span style="mso-spacerun: yes;"> </span>These articles were afterwards gathered and
published as “<a href="http://books.google.com/books?id=dL8LAAAAIAAJ" target="_blank">The Salon</a>,” and it is in them that we find most of his criticisms
on music and musicians.<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/Stephen_Heller" target="_blank">Stephen Heller</a>,
the composer, wrote, “Heine understood nothing about music, theoretically or
practically; and yet, because of his imaginative and penetrating mind, he divined
more in music than many so-called musical people. . . .<span style="mso-spacerun: yes;"> </span>I do not believe that it ever occurred to ask
me to play for him.<span style="mso-spacerun: yes;"> </span>It did not interest
him greatly, although he wrote some clever and cultured as well as very
humorous things about it.”</div>
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<span style="mso-tab-count: 1;"> </span>Among
the first of his writings on musical subjects was a whimsical account of the
popularity of the “<a href="http://en.wikipedia.org/wiki/Der_Freisch%C3%BCtz" target="_blank">Der Freischutz</a>” of <a href="http://en.wikipedia.org/wiki/Carl_Maria_von_Weber" target="_blank">von Weber</a>, on its production in Berlin,
and of the persecution he suffered from hearing from morning to night the <i style="mso-bidi-font-style: normal;">Jungfrau Kranz</i> sung in all directions.</div>
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<span style="mso-tab-count: 1;"> </span>He
writes:</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 1;"> </span>“In however good a temper I get
up in the morning, the cheerfulness is immediately driven out of me, for even
at this hour the schoolboys pass my window whistling the </i>Jungfrau Kranz<i style="mso-bidi-font-style: normal;">.<span style="mso-spacerun: yes;"> </span>An
hour does not pass before I hear that the daughter of my hostess is up with her
</i>Jungfrau Kranz<i style="mso-bidi-font-style: normal;">.<span style="mso-spacerun: yes;"> </span>I hear my barber then singing to himself upstairs
to the tune of the </i>Jungfrau Kranz<i style="mso-bidi-font-style: normal;">.<span style="mso-spacerun: yes;"> </span>The washerwoman’s little girl then comes
humming</i> Lavendel, Myrt, and Thymian<i style="mso-bidi-font-style: normal;">.<span style="mso-spacerun: yes;"> </span>So it goes on.<span style="mso-spacerun: yes;"> </span>My head swims.<span style="mso-spacerun: yes;"> </span>I cannot endure it.<span style="mso-spacerun: yes;"> </span>I rush out of the house and throw myself with
disgust into a hackney coach, happy that I can hear no singing while the wheels
are rattling.<span style="mso-spacerun: yes;"> </span>I get out at Miss __________’s,
and ask if she is at home.<span style="mso-spacerun: yes;"> </span>The servant
runs to see.<span style="mso-spacerun: yes;"> </span>Yes.<span style="mso-spacerun: yes;"> </span>The door opens; the sweet creature sits at
the pianoforte, and receives me with the words— </i></div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 1;"> </span></i>‘Wo bleibt der schmucke
Freirsmann, Ich kann ihn kaum erwarten.’</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 1;"> </span>“’You sing like an angel!’ I
cry, in a spasmodic way.<span style="mso-spacerun: yes;"> </span>‘I will begin
again from the beginning,’ lisps the good creature; and she twists me again her
</i>Jungfrau Kranz<i style="mso-bidi-font-style: normal;">, and twists, and
twists, until I twist myself like a worm with unspeakable pangs, and cry out in
anguish of soul, ‘Help, help!’<span style="mso-spacerun: yes;"> </span>After
which the accursed song never quits me all day.<span style="mso-spacerun: yes;">
</span>My most pleasant moments are embittered—even as I sit at midday at
dinner, the singer Heinsius trolls it out at dessert.<span style="mso-spacerun: yes;"> </span>The whole afternoon I am strangled with </i>Veilchen
blauer Seide.<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>There the </i>Jungfrau Kranz<i style="mso-bidi-font-style: normal;"> is played off on the organ by a
cripple.<span style="mso-spacerun: yes;"> </span>Here it is fiddled off by a
blind man.<span style="mso-spacerun: yes;"> </span>In the evening the whole
horror is let loose.<span style="mso-spacerun: yes;"> </span>Then is there a
piping, a howling, a falsettoing, a gurgling, and always the same tune.<span style="mso-spacerun: yes;"> </span>The song of </i>Kaspar<i style="mso-bidi-font-style: normal;"> or the </i>Huntsman’s Chorus<i style="mso-bidi-font-style: normal;"> may
be howled in from time to time, by an illuminated student or ensign, for a
change; but the </i>Jungfrau Kranz<i style="mso-bidi-font-style: normal;"> is
permanent:<span style="mso-spacerun: yes;"> </span>when one has ended it,
another begins it.<span style="mso-spacerun: yes;"> </span>Out of every house it
springs upon me; everybody sings it with his own variation; yea, I almost fancy
the dogs in the street howl it. . . .<span style="mso-spacerun: yes;">
</span>However, do not imagine that the melody is really bad; on the contrary,
it has reached its popularity through excellence.<span style="mso-spacerun: yes;"> </span>Mais toujours perdrix!<span style="mso-spacerun: yes;"> </span>You understand me:<span style="mso-spacerun: yes;"> </span>the whole of ‘Der Freischutz’ is excellent
and surely deserves the consideration given to it by all German.”</i></div>
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<span style="mso-tab-count: 1;"> </span>It was
when painting and sculpturing for a time declined, in 1841, that Heine wrote,
“Only the younger sister, Music, lifts herself up with original individual
power.<span style="mso-spacerun: yes;"> </span>Will she keep her place or will
she again fall down?<span style="mso-spacerun: yes;"> </span>These are questions
which only a later generation can answer.”</div>
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<span style="mso-tab-count: 1;"> </span>He goes
on to explain that the music season terrifies more than it delights him; that
people are simply being drowned in music, and that in Paris there is not a
single house wherein one can take refuge as in an ark against the deluge of
sound.<span style="mso-spacerun: yes;"> </span>“The noble tone-science,” he
says, “is overflowing our whole existence.<span style="mso-spacerun: yes;">
</span>This is for me a very critical sign and brings upon me sometimes<span style="mso-spacerun: yes;"> </span>a fit of ill humor which degenerates into the
most morose injustice against our great <a href="http://www.thefreedictionary.com/maestri" target="_blank"><i style="mso-bidi-font-style: normal;">maestri</i></a>
and <i style="mso-bidi-font-style: normal;">dillettanti</i>.”<span style="mso-spacerun: yes;"> </span>That he was at least an honest critic and not
above self-criticism seems apparent from this; and undoubtedly some allowance
should be made for the delicacy of the nerves of a man who, when he was staying
with a friend, was obliged to ask to have the clock stopped in the next room to
the one in which he passed the night, in order that he might go to sleep.</div>
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<span style="mso-tab-count: 1;"> </span>Of the
pianoforte, of which he speaks as “the instrument of martyrdom, whereby the
present elegant world is racked and tortured for all its affectations,” he
seems sometimes to have had a special horror.<span style="mso-spacerun: yes;">
</span>However, that Heine was able to do honor to really great artists on the
piano is seen by his critiques of Liszt, <a href="http://en.wikipedia.org/wiki/Sigismond_Thalberg" target="_blank">Thalberg</a>, and Chopin, with each of
whom he was intimately acquainted.</div>
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<span style="mso-tab-count: 1;"> </span>Of
Liszt he writes:</div>
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<span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“He is indisputably the artist in Paris who
awakes the most unlimited enthusiasm, as well as the most zealous
opponents.<span style="mso-spacerun: yes;"> </span>It is a characteristic sign
that no one speaks of him with indifference.<span style="mso-spacerun: yes;">
</span>Without power no one can excite in this world either favorable or
hostile passions.<span style="mso-spacerun: yes;"> </span>One must possess fire,
to excite men to hatred as well as to love.<span style="mso-spacerun: yes;">
</span>That which testifies especially for Liszt is the complete esteem with
which even his enemies speak of his personal worth.<span style="mso-spacerun: yes;"> </span>He is a man of whimsical but noble character,
unselfish, and without deceit.<span style="mso-spacerun: yes;">
</span>Especially remarkable are his spiritual proclivities; he has great taste
for speculative ideas; and he takes even more interest in the essays of the
various schools which occupy themselves with the solution of the great problems
of heaven and earth than in his art itself.<span style="mso-spacerun: yes;">
</span>It is, however, praiseworthy, this indefatigable yearning after light
and divinity; it is a proof of his taste for the holy, for the religious.”</i></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Notwithstanding
his liking for Liszt, personally, Heine confesses that his music which on one
occasion he likens to a scene from the Apocalypse, did not impress him
agreeable.<span style="mso-spacerun: yes;"> </span>On the occasion of a
subsequent visit of Liszt to Paris, he seems to have become more reconciled to
his playing.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>He then
writes:</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“Yes, Franz Liszt, the pianist of genius,
whose playing often appears to me as a the melodious agony of a spectral world,
is again here, and giving concerts which exercise a charm which borders on the
fabulous.<span style="mso-spacerun: yes;"> </span>By his side all piano players,
with the exception of Chopin, the Raphael of the pianoforte, are as
nothing.<span style="mso-spacerun: yes;"> </span>In fact, with the exception of
this last named artist alone, all the other piano players, whom we hear this
year in countless concerts, are only piano players—their only merit is the
dexterity with which they handle the machine of wood and wire.<span style="mso-spacerun: yes;"> </span>With Liszt, on the contrary, people think no
more about the ‘difficulty overcome’; the piano disappears, and music is
revealed.<span style="mso-spacerun: yes;"> </span>In this respect has Liszt,
since we last heard him, made the most astonishing progress.<span style="mso-spacerun: yes;"> </span>With this advantage he combines now a repose
of manner which we failed to perceive in him formerly.<span style="mso-spacerun: yes;"> </span>If, for example, he played a storm on the
pianoforte, we saw the lightning flicker about his features, his limbs
fluttered as with the blast of a storm, and his long locks of hair dripped as
with real showers of rain.<span style="mso-spacerun: yes;"> </span>Now, when he
plays the most violent storm, he still seems exalted above it, like the
traveler who stands on the summit of an Alp while the tempest rages in the
valley.<span style="mso-spacerun: yes;"> </span>The clouds lie deep below him,
the lightning curls like snakes at his feet, but his head is uplifted smilingly
into the pure ether.”</i></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Heine
furnishes us with sketches of the famous composers of his time like <a href="http://en.wikipedia.org/wiki/Gaspare_Spontini" target="_blank">Spontini</a>,
Rossini, <a href="http://en.wikipedia.org/wiki/Giacomo_Meyerbeer" target="_blank">Meyerbeer</a> and Berlioz.<span style="mso-spacerun: yes;"> </span>The
following description of the rugged, German Berlioz gives us a good example of
the poet’s idea in the interpretations of his genius.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“To each man all honor.<span style="mso-spacerun: yes;"> </span>We begin today with Berlioz, whose first
concert commenced the musical season, and was regarded, in fact, as its
overture.<span style="mso-spacerun: yes;"> </span>Those pieces—more or less
new—which were set before the public found due applause; and even the most
sluggish spirits were borne along by the might of his genius, which reveals
itself in all the creations of the great master.<span style="mso-spacerun: yes;"> </span>Here was a sweep of aerie which betrayed no
ordinary singing-bird.<span style="mso-spacerun: yes;"> </span>There was a
colossal nightingale, a philomel of the size of an eagle, such as there may
have been in the primeval world.<span style="mso-spacerun: yes;"> </span>Yes,
the music of Berlioz has, in my opinion, a smack of the primeval, if not
antediluvian world; and it reminds me of races of beasts which have become
extinct; of fabulous kingdoms and their impieties; of impossibilities towered
up heaven-high; of Babylon; of the handing gardens of Semiramis; of Nineveh; of
the miraculous works of Mizraim, as we see them in the pictures of Martin the
Englishman.<span style="mso-spacerun: yes;"> </span>Indeed, if we look around
for an analogy in the art of painting, we find the most sympathetic similarity
between Berlioz and the wild Briton—the same excuse for the monstrous, the gigantic—for
material immensity.<span style="mso-spacerun: yes;"> </span>With the one the
sharpest effects of light and shade, with the other the most crushing
instrumentation; with the one little melody, with the other little sense of
color; with both little beauty, and no gentleness of humor.<span style="mso-spacerun: yes;"> </span>Their works are neither classic nor romantic;
they remind us neither of Greece nor of the Catholic Middle Ages; but they
transplant us far deeper back—to the Assyrian, Babylonian and Egyptian period
of architecture, to the passion for massiveness, of which it was the
expression.”<span style="mso-tab-count: 1;"> </span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 1;"> </span></i>He gives us an amusing story
of the vanity of Spontini and his jealousy of Meyerbeer in Spontini’s declining
days.<span style="mso-spacerun: yes;"> </span>Heine says that Spontini was one
day at the Louvre before an Egyptian mummy whom he thus apostrophized:</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“Unhappy Pharoah!<span style="mso-spacerun: yes;"> </span>thou art the author of my misfortune.<span style="mso-spacerun: yes;"> </span>Hadst thou refused to permit the children of
Israel to go forth from the land of Egypt, or hadst thou had them all drowned
in the Nile, then had I not been driven out of Berlin by Meyerbeer and
Mendelssohn, and I had even remained director of the great opera and of the
court concert.<span style="mso-spacerun: yes;"> </span>Unhappy Pharoah! weak
king of the crocodiles!<span style="mso-spacerun: yes;"> </span>through thy
half-measures has it happened that I now am in the main a ruined man, and that
Moses, and Halevy, and Mendelssohn, and Meyerbeer have been victorious!”</i></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Heine’s
essay on the comparative merits of Rossini and Meyerbeer goes too far into the
matter to allow of the reproduction of its substance here.<span style="mso-spacerun: yes;"> </span>It must suffice to state that he gave the
preference to Rossini.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>He had
the power of painting a picture in a few words; and we quote some of the
thumb-nail sketches scattered through his works referring to musicians.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>He
praises <a href="http://en.wikipedia.org/wiki/Gaetano_Donizetti" target="_blank">Donizetti’s</a> genius but declares that its most astonishing quality is
its fecundity, in which it yields precedence in the scheme of nature only to
rabbits.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Speaking
of Rossini sulking in his tent like <a href="http://en.wikipedia.org/wiki/Achilles" target="_blank">Achilles</a>, he says that he had heard of a
similar attitude on Donizetti’s part.<span style="mso-spacerun: yes;">
</span>This, he is sure, is nonsense, which even on the part of a windmill
would not be more laughable.<span style="mso-spacerun: yes;"> </span>“Either
there is wind and the sails go round, or else there is no wind the sails stand
still.”<span style="mso-spacerun: yes;"> </span>Rossini he likens to <a href="http://en.wikipedia.org/wiki/Mount_Vesuvius" target="_blank">Vesuvius</a>
pouring forth beautiful flowers.<span style="mso-spacerun: yes;">
</span>Meyerbeer, whose contract in Berlin had been modified to allow him to
spend six months in Paris and six months in Berlin, is the Modern <a href="http://en.wikipedia.org/wiki/Proserpina" target="_blank">Proserpina</a>
who, however, must expect Hades and its troubles in both places.<span style="mso-spacerun: yes;"> </span>Chopin is the one musician about whom he
wrote no unkind word.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“That is, indeed, a man of the greatest
distinction.<span style="mso-spacerun: yes;"> </span>Born in Poland of French
parents, a considerable part of his education was gained in Germany.<span style="mso-spacerun: yes;"> </span>And the influence of the three races shows
itself in his remarkable personality.<span style="mso-spacerun: yes;"> </span>He
has indeed assimilated the best which these nationalities had to offer.<span style="mso-spacerun: yes;"> </span>Poland gave him his chivalrous feeling and
the sense of pain which her history gives all her sons; France bestowed on him
the easy, elegant grace which so distinguishes him; Germany imbued him with his
deep romanticism.<span style="mso-spacerun: yes;"> </span>And in addition nature
gave him a neat, slender, delicate frame, the noblest of hearts, and
genius.<span style="mso-spacerun: yes;"> </span>Yes, Chopin must be called a
genius in the truest sense of the word.<span style="mso-spacerun: yes;">
</span>He is not a virtuoso only, he is a poet; and nothing can equal the
pleasure he gives when he sits at the piano improvising.<span style="mso-spacerun: yes;"> </span>Then he is neither Pole, French, nor German;
he claims a far higher origin, for he comes from the land of Mozart, of
Raphael, of Goethe, and his true Fatherland is the dreamland of Poetry.”</i></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>He
hears it said that there are not enough melodies in “<a href="http://en.wikipedia.org/wiki/Les_Huguenots" target="_blank">Les Huguenots</a>” and at once
decides, with characteristic energy, that “the only difficulty consists in not
seeing the woods for the trees.”</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>He
talks in one passage of Rossini, the “Swan of Pesaro,” surrounded by the
gabbling of geese.<span style="mso-spacerun: yes;"> </span>In another passage he
pities the poor “Swan of Pesaro,” who is in danger of being torn asunder
between the German eagle and the Gallic cock—figures only important as showing
the spontaneity of such thoughts and the light touch which enabled him so
successfully to present the same idea from different points of view without
spoiling it or making himself ridiculous.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Heine’s
hates, like his loves, were very strong and unreasoning, and the result is
shown in lamentable prejudices which seriously detract from the value of his
criticisms and conclusions.<span style="mso-spacerun: yes;"> </span>But the bias
is easily seen, and the savage invective which he hurls against individuals,
races, and causes, regarding them apparently as personal enemies of his own,
warns the reader against accepting either his statements or conclusions.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>An
English writer has said, “Heine merely describes performances and performers,
and records the effect which a work or an artist seems to have made upon the
audience.<span style="mso-spacerun: yes;"> </span>Such ‘critics’ exercise an
important function for the passing generation.<span style="mso-spacerun: yes;">
</span>But the lapse of a very few years show s how sadly they are lacking in
the gift of perspective.<span style="mso-spacerun: yes;"> </span>In old files of
newspapers we read warm praise of long forgotten works and artists, and much
indignation about matters of no moment to us, along with unfulfilled and falsified
prophecies.<span style="mso-spacerun: yes;"> </span>The real critic, whose
opinion can be trusted to stand the test of time, is very rare, and fortunately
his services are not much required.<span style="mso-spacerun: yes;"> </span>For
all the practical purposes of a later generation, a chatty reporter is
best.<span style="mso-spacerun: yes;"> </span>He seems to bring us into personal
contact with the composer and the artist; and we would rather read Kelly’s
description of the first performance of “<a href="http://en.wikipedia.org/wiki/The_Marriage_of_Figaro" target="_blank">The Marriage of Figaro</a>” in Prague,
than all the critical estimates, the scientific analyses and most carefully
considered prophecies which the files of the Prague daily papers could offer.”</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>A trial
has been made to show that Heine attempted to blackmail both Liszt and
Meyerbeer, when he was almost at the point of starvation in Paris.<span style="mso-spacerun: yes;"> </span>Liszt refused to aid him, but Meyerbeer did
help Heine on many occasions, as it appears that all composers were not like
Liszt averse to “buying recognition on the market.”</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Even
after Meyerbeer had been obliged to decline to satisfy Heine’s request for aid,
as his purse could no longer satisfy his demands, we find that he sent Heine
through a friend a thousand francs, crying, “What, the greatest poet of Germany
in such need!” and added a humble request to be permitted to call on the sick
man the next day.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Forgetting
this blot on Heine’s escutcheon, we would prefer to remember the “Buch der
Leider” or the “Romancers” for their enduring worth and merit.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Of
Thalberg, Heine wrote:</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“As in his life so in his art he shows such
inborn tact.<span style="mso-spacerun: yes;"> </span>His playing is so
gentlemanlylike, so well to do, so respectable.<span style="mso-spacerun: yes;">
</span>There is only one whom I place above him, that is Chopin, who, however,
is more of a composer than a virtuoso.<span style="mso-spacerun: yes;">
</span>With Chopin I forget his mastery of technic in the sweet depths of his
music, in the almost painful pleasure of creation, as deep as they are tender.”</i></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>The
reader will know how far to trust our critic when he goes on to call Chopin
“the great tone-poet who can be placed beside only Mozart, Beethoven, or
Rossini.”</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Although
Heine seems not to have been fond of singers, and seldom speaks of them with
much patience, the more striking is his testimony to the charm of “that
wonderful pair of nightingales, <a href="http://en.wikipedia.org/wiki/Giovanni_Matteo_Mario" target="_blank">Mario</a> and <a href="http://en.wikipedia.org/wiki/Giulia_Grisi" target="_blank">Grisi</a>, who made the very spring
blossom with their voices.”</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>In all
his unjustifiable and bitter<span style="mso-spacerun: yes;"> </span>attacks,
there are none more so than his allusions to <a href="http://en.wikipedia.org/wiki/Jenny_Lind" target="_blank">Jenny Lind</a>, “The Swedish
Nightingale,” who after her first and futile visit to Paris in 1842 positively
declined to sing there again, although she created a furore in every other
musical center in Europe.<span style="mso-spacerun: yes;"> </span>We fancy that
it was not so much this resolution on her part as the fact that his dearest
foes were the English, who went quite mad of the Swedish singer.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Heine
hated the English—did not approve of anything they said or did—and yet, with
the irony of fate, there is no country in which Heine’s poetry has had a
greater vogue.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Although
it was in Heine’s writings that Richard Wagner found the idea of the <a href="http://www.youtube.com/watch?v=HqezCR_XzaI" target="_blank"><i style="mso-bidi-font-style: normal;">Flying Dutchman’s</i></a> salvation through a
woman’s love; yet, after his failure in Paris, Heine’s judgment upon Wagner’s
aims, methods and music, was that of many prejudiced and ignorant critics of
his time.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>The
various glimpses of musical life, of musicians, performances, criticisms, and
tendencies, which make these articles so interesting to the amateur and student
of musical history, have no intrinsic value as contributions to musical
history.<span style="mso-spacerun: yes;"> </span>We are transported to the
actual period, like the worthy citizen in <a href="http://en.wikipedia.org/wiki/The_Red_Shoes_%28fairy_tale%29" target="_blank">Hans Christian Andersen’s fairy talewho wore the magic slippers</a>; but, although the musical world of Paris, in the
period between 1831 and 1844, moves vividly and distinctly before our eyes, we
see everything through spectacles which discolor, distort, and exaggerate too
many details.<span style="mso-spacerun: yes;"> </span>It is remarkable that the
most thoroughly appreciative passages, those which are of any service to
musical history, are those which deal with four Italians—Rossini, Donizetti,
<a href="http://en.wikipedia.org/wiki/Vincenzo_Bellini" target="_blank">Bellini</a>, and <a href="http://en.wikipedia.org/wiki/Niccol%C3%B2_Paganini" target="_blank">Paganini</a>.<span style="mso-spacerun: yes;"> </span>His remarks about
the first are more or less built on hearsay, however cleverly put; the second
comes in for some good humored, but very pointed, persiflage; but his account
of poor Bellini in his last years of affliction forms a real contribution to
the personal history of great musicians; and his description of a Paganini
concert—even with all its exaggerations—gives us one of the best portraits we
have of that wonderful executive artist.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>As an
introduction to an interesting appreciation of Rossini’s “Stabat Mater,” he
describes a church fete in Italy, where he saw groups of children take part in
a kind of Passion play.<span style="mso-spacerun: yes;"> </span>A little boy was
dressed to represent the Saviour, wearing a crown of thorns, and with drops of
blood painted in glaring color on his forehead, as were the wounds in his hands
and naked feet.<span style="mso-spacerun: yes;"> </span>The Mater Dolorosa was a
small girl clothed in black, bearing several swords with gilded hilts on her
breast.<span style="mso-spacerun: yes;"> </span>Other children represented
apostles—one as Judas with a purse in his hand; a few were dressed as cupids;
and some in the costume of French stage shepherds, hat and staff bedizened with
ribbons.<span style="mso-spacerun: yes;"> </span>“How could one believe that the
sight of such a spectacle could stir the depths of one’s being!<span style="mso-spacerun: yes;"> </span>But true Christianity in art does not consist
in barrenness of ornament or leanness in figure;” and Heine finds Rossini’s
“<a href="http://en.wikipedia.org/wiki/Stabat_Mater_%28Rossini%29" target="_blank">Stabat Mater</a>” more truly Christian than Mendelssohn’s “<a href="http://en.wikipedia.org/wiki/St._Paul_%28oratorio%29" target="_blank">St. Paul</a>”—as, indeed,
one might have expected from a bitter, prejudiced, perverted Jew.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBt75U1_RQEKUe2fmigpyvDA0soeD7zD5-vsUQOwggZi2RLHpWin1XPHQUzacObdV9SjXBCXfkx8_ysrqhtYuzl7DNVP6Eh53xGCtybZBrwDIOCYzHDZOxKQ_oOSE6KiEhgtRoKvKYQcB8/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBt75U1_RQEKUe2fmigpyvDA0soeD7zD5-vsUQOwggZi2RLHpWin1XPHQUzacObdV9SjXBCXfkx8_ysrqhtYuzl7DNVP6Eh53xGCtybZBrwDIOCYzHDZOxKQ_oOSE6KiEhgtRoKvKYQcB8/s1600/divider.jpg" height="24" width="640" /></a></div>
Enjoy <a href="http://www.joycedidonato.com/" target="_blank">Joyce DiDonato</a>, mezzo-soprano, with <a href="http://en.wikipedia.org/wiki/Antonio_Pappano" target="_blank">Antonio Pappano</a> conducting, at the 2007 <a href="http://www.bbc.co.uk/proms" target="_blank">BBC Proms</a> "Fac ut portem" from Rossini's <u>Stabat Mater</u>:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/nXJAjA8ImUg?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBt75U1_RQEKUe2fmigpyvDA0soeD7zD5-vsUQOwggZi2RLHpWin1XPHQUzacObdV9SjXBCXfkx8_ysrqhtYuzl7DNVP6Eh53xGCtybZBrwDIOCYzHDZOxKQ_oOSE6KiEhgtRoKvKYQcB8/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBt75U1_RQEKUe2fmigpyvDA0soeD7zD5-vsUQOwggZi2RLHpWin1XPHQUzacObdV9SjXBCXfkx8_ysrqhtYuzl7DNVP6Eh53xGCtybZBrwDIOCYzHDZOxKQ_oOSE6KiEhgtRoKvKYQcB8/s1600/divider.jpg" height="24" width="640" /></a><br />
Enjoy <a href="http://music.asu.edu/organ/selectone.php?ID=54" target="_blank">Kimberly Marshall's</a> performance of the Overture from Felix Mendelssohn's <u>St. Paul</u>: <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/eABcNKkwv7A?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBt75U1_RQEKUe2fmigpyvDA0soeD7zD5-vsUQOwggZi2RLHpWin1XPHQUzacObdV9SjXBCXfkx8_ysrqhtYuzl7DNVP6Eh53xGCtybZBrwDIOCYzHDZOxKQ_oOSE6KiEhgtRoKvKYQcB8/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBt75U1_RQEKUe2fmigpyvDA0soeD7zD5-vsUQOwggZi2RLHpWin1XPHQUzacObdV9SjXBCXfkx8_ysrqhtYuzl7DNVP6Eh53xGCtybZBrwDIOCYzHDZOxKQ_oOSE6KiEhgtRoKvKYQcB8/s1600/divider.jpg" height="24" width="640" /></a> </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Heine
recognized that of all composers Liszt found Beethoven most in accordance with
his taste.<span style="mso-spacerun: yes;"> </span>Of the Titan among master
musicians he wrote:</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“Beethoven, especially, has advanced the spiritualism
of art to that tuneful agony of the world of vision—to that annihilation of nature
which fills us with a terror which I cannot conceal, although my friends shake
their heads over it.<span style="mso-spacerun: yes;"> </span>It seems to me a
characteristic circumstance that Beethoven was deaf at the end of his days, so
that not even the invisible tone-world had any reality in sound for him.<span style="mso-spacerun: yes;"> </span>His tones were but reminiscences of a
tone—the ghost of sounds which had died away, and his last productions bore on
their brow the ghostly hand of dissolution.”</i></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>While
Heine may have lacked the practical musical training necessary for the best
fulfillment of the duties of a musical critic, it cannot be denied but that his
intuitive genius and unusual perceptive powers enabled him to reproduce the musical
atmosphere of his day.<br />
<br />
THE ETUDE MUSIC MAGAZINE –October 1936</div>
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-44230087230613415982014-02-26T10:59:00.002-08:002014-02-26T10:59:43.872-08:00February 1924<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOWLPA5Q8fnWLfaQ9U5Kf0D65K5ikx9dYCfYJjd0l-JbRUDcZdO65ifdLzwWF7YU3F_WIM4ikcg4EzGazivc3MLiA2jjW9UDaudUuzwDtQl-1q-mfV_a9iqcZqOevuePrsabAcN5scll_K/s1600/1924Februarycover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOWLPA5Q8fnWLfaQ9U5Kf0D65K5ikx9dYCfYJjd0l-JbRUDcZdO65ifdLzwWF7YU3F_WIM4ikcg4EzGazivc3MLiA2jjW9UDaudUuzwDtQl-1q-mfV_a9iqcZqOevuePrsabAcN5scll_K/s1600/1924Februarycover.jpg" height="640" width="486" /></a></div>
THE ETUDE MUSIC MAGAZINE – February1924Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-5087610661788677022014-02-25T19:08:00.000-08:002014-02-26T05:57:20.828-08:00Love Your Neighbor As Yourself"Mute instruments, as they are called, have been invented. Try them awhile just to see how useless they are. The dumb cannot teach speech." That is one of Schumann's maxims which would seem to need frequent application in these days. Pianists in particular have become impatient of the old drudgery of practice, and are eager to seize upon anything which will lead their feet to the proverbial royal road. We have even got the length of pretending to teach "touch" and technic by correspondence! Surely, as a writer in a contemporary remarks, if there is is a subject in the world which demands practical as well as verbal illustration is to be conveyed by means of letters it is impossible to imagine. The advertisers must either be astonishingly clever men or atrociously bad teachers. With regard to mute instruments for practice very different opinions have been entertained. Mendelssohn at one time used to practice on a dumb keyboard while sitting up in bed. <a href="http://en.wikipedia.org/wiki/Adolf_von_Henselt" target="_blank">Henselt</a> used a dumb instrument for conquering all technical difficulties and advised his pupils to do the same. He said the plan spared his nerves. <a href="http://en.wikipedia.org/wiki/Giovanni_Sgambati" target="_blank">Sgambati</a> also used a mute instrument, not so much to spare his own nerves as the nerves of his neighbors. "No one who can avoid it," he said, "has any right to inflict on his neighbors the annoyance of listening to that amount of passage-practicing from which no talent can dispense any individual whatever." Would that everybody who plays the piano were so considerate! If an almost dumb pianoforte be required, we are reminded that it can be obtained by placing a long strip of heavy baize or flannel across the strings in a diagonal direction from treble to bass. I commend the idea to the attention of philanthropic people. Instead of sending blankets to the <a href="http://en.wikipedia.org/wiki/Khoikhoi" target="_blank">Hottentots</a>, let them make judicious presents of flannel at home.<br />
<br />
<div class="MsoNormal">
<i>by <a href="http://en.wikipedia.org/wiki/James_Cuthbert_Hadden" target="_blank">J. Cuthbert Hadden</a><a href="https://en.wikipedia.org/wiki/Robert_Stanley_Weir" target="_blank"> </a></i></div>
THE ETUDE MUSIC MAGAZINE – February 1896
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-55373611494763532402013-09-17T07:34:00.001-07:002013-09-17T07:57:53.516-07:00Summer Thoughts of Beethoven<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUO2fI5DusD_cqKu1PwydNhpNWxSy2_J9XYLsZmqqRAjmRCBzyxAkKO3R6lK6kFgpBJxIDDgL38kbQyHPkk-z3MHSJZ5GCpgc7CzYneiZ2v7WsXujdlxUBys3iUaHMOBR-wleSf-tDawTQ/s1600/1910JulyBeethovenNature.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUO2fI5DusD_cqKu1PwydNhpNWxSy2_J9XYLsZmqqRAjmRCBzyxAkKO3R6lK6kFgpBJxIDDgL38kbQyHPkk-z3MHSJZ5GCpgc7CzYneiZ2v7WsXujdlxUBys3iUaHMOBR-wleSf-tDawTQ/s640/1910JulyBeethovenNature.jpg" width="392" /></a></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“O God! send your light into beautiful
Nature.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“Who can express completely the glory
and ecstasy of the woods.<span style="mso-spacerun: yes;"> </span>O, the sweet
solitude of the forest!”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“Ere long comes the fall.<span style="mso-spacerun: yes;"> </span>Then may I be like the fruitful tree, which pours
rich store of fruit into our laps!<span style="mso-spacerun: yes;"> </span>But
in the wintertime of our life, when I shall be gray and tired of life, I wish
that I may have the good fortune to have repose as honorable and good as the
repose of Nature in wintertime.”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“Nature is a magnificent school for
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“No man can adore the woods and trees
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the echo which man desires.”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“In summer, I read <a href="http://en.wikipedia.org/wiki/Johann_Wolfgang_von_Goethe" target="_blank">Goethe</a> every
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“To me a residence in a town during
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“Thus, then, I take leave of you, and
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brought with me here of being to a certain degree cured now utterly forsakes
me.<span style="mso-spacerun: yes;"> </span>As autumn leaves fall and wither, so
are my hopes blighted.<span style="mso-spacerun: yes;"> </span>Almost as I came
I depart.<span style="mso-spacerun: yes;"> </span>Even the lofty courage that so
often animated me in the lovely days of summer is gone forever.<span style="mso-spacerun: yes;"> </span>O, Providence!<span style="mso-spacerun: yes;"> </span>vouchsafe me one day of pure felicity!<span style="mso-spacerun: yes;"> </span>How long have I been estranged from the glad
echo of true joy!<span style="mso-spacerun: yes;"> </span>When, O my God, when
shall I again feel it in the temple of Nature and of Man?”</span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Bookman Old Style","serif";">Enjoy <a href="http://www.theknightsnyc.com/" target="_blank">The Knight’s</a> performance of the first of movement from Beethoven’s <a href="http://en.wikipedia.org/wiki/Symphony_No._6_%28Beethoven%29" target="_blank"><i style="mso-bidi-font-style: normal;">Symphony No. 6 (Pastoral)</i></a>:</span></div>
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THE ETUDE MUSIC MAGAZINE – July 1910<span style="font-family: "Bookman Old Style","serif";"><br /></span></div>
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Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-66668672958403191842013-07-02T16:03:00.000-07:002013-07-02T16:03:03.278-07:00Cream of Wheat Ad<div class="separator" style="clear: both; text-align: center;">
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THE ETUDE MUSIC MAGAZINE – September 1917 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-91148958196717382622013-06-24T07:27:00.000-07:002013-06-24T07:32:34.779-07:00The Wagnerian Singer<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7xiM4Coo70khn6_DyUKPF6prWQPzf2UsQ1Pkoyu8sPyx59tWs9oWOKA13D7iZUUf2ieHQI83sCJnDhSO1_zeGLanmbuijKlYEvRuytrfigsYuWRYHbdUGS44xsMETkvzCmCxzMQCP0qIv/s1600/1935NovemberWagnerianSinger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
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<span style="font-family: Broadway; font-size: 36.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Broadway; font-size: 36pt; line-height: 115%;">The Wagnerian
Singer</span></div>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="font-family: Broadway; font-size: 18.0pt;">By <a href="http://en.wikipedia.org/wiki/Kirsten_Flagstad" target="_blank">Kirsten Flagstad</a></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: center 3.25in left 416.25pt;">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>PRIMA DONNA SOPRANO,
<a href="http://www.metoperafamily.org/" target="_blank">METROPOLITAN OPERA</a><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: center 3.25in left 416.25pt;">
<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt;">Secured
Expressly for The Etude Music Magazine</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif"; font-size: 12.0pt; line-height: 115%;">By
Rose Heylbut</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh1mNVaVoXobaSMavjVYQF9c0SNszTI1ivIXDDyljjVGoDST4PwneAQcu_Fv6ShAuNxti2N8lB9uRUX5wmQfo2_kRulIEt_lHYeptABVxH21HIgA-XsdKTvzmctsWkj_tOFOmG7ZJNQi2B/s1600/1935NovemberWagnerianSinger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh1mNVaVoXobaSMavjVYQF9c0SNszTI1ivIXDDyljjVGoDST4PwneAQcu_Fv6ShAuNxti2N8lB9uRUX5wmQfo2_kRulIEt_lHYeptABVxH21HIgA-XsdKTvzmctsWkj_tOFOmG7ZJNQi2B/s640/1935NovemberWagnerianSinger.jpg" width="396" /></a></div>
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<i><span style="font-family: "Bookman Old Style","serif"; font-size: 12pt; line-height: 115%;"></span></i><span style="font-family: "Bookman Old Style","serif";">WHEN I
WAS A GIRL, I used to wonder about what seemed to me a rather curious method of
classifying singers.<span style="mso-spacerun: yes;"> </span>The grown-ups would
talk of Madame G………. as “a singer” and of Madame S………. as “a <a href="http://en.wikipedia.org/wiki/Richard_Wagner" target="_blank">Wagnerian</a>
singer.”<span style="mso-spacerun: yes;"> </span>This puzzled me.<span style="mso-spacerun: yes;"> </span>Did “Wagnerian” mean a special kind of
voice?<span style="mso-spacerun: yes;"> </span>And, if not, why make such a
distinction?<span style="mso-spacerun: yes;"> </span>Could not any skillfully
trained singer sing any kind of music?<span style="mso-spacerun: yes;">
</span>Well, today I am fortunate enough to be termed a “Wagnerian singer”
myself, and I appreciate clearly what the difference is.<span style="mso-spacerun: yes;"> </span>Perhaps at some time you, too, may have
wondered about it?</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Wagnerian roles, as a whole, require a
special sort of voice, special training, and, above all, perhaps, a special
mental preparation for which I can think of no better name than a spiritual
approach.<span style="mso-spacerun: yes;"> </span>No singer with a naturally
light voice should attempt the Wagnerian parts, which demand great power, great
compass of voice, and great volume of tone.<span style="mso-spacerun: yes;">
</span>A small voice of firm quality may grow into these parts.<span style="mso-spacerun: yes;"> </span>I know this from experience; but an organ
which is naturally light in timbre would best leave them alone.<span style="mso-spacerun: yes;"> </span>The Wagnerian roles are tremendously long parts.<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/Tristan_und_Isolde" target="_blank"><i style="mso-bidi-font-style: normal;">Isolde</i></a>
requires exactly one hour and twenty minutes of actual singing; <a href="http://en.wikipedia.org/wiki/Tannh%C3%A4user_%28opera%29" target="_blank"><i style="mso-bidi-font-style: normal;">Elizabeth</i></a> is really a comparatively
brief part, so far as continued singing goes; yet both demand a large, full,
strong voice.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">A
New Singing Art</span></i></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
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<span style="font-family: "Bookman Old Style","serif";">THE
REASON for this goes back to Wagner’s own intention in writing these operas, or
music dramas, as he preferred to call them.<span style="mso-spacerun: yes;">
</span>You will recall that Wagner rebelled against the “lighter” school of
opera, like those of <a href="http://en.wikipedia.org/wiki/Gioachino_Rossini" target="_blank">Rossini</a>, for example, where the artists sang tuneful
melodies or displayed vocal fireworks against a conventional, even unimportant,
orchestral accompaniment.<span style="mso-spacerun: yes;"> </span>Wagner had a
very different purpose.<span style="mso-spacerun: yes;"> </span>He wished to
blend voices, orchestra, words, and action into one complete whole; no one
element was to be more important than another; and the entire result was to be
not merely a series of melodies but a complete musical delineation of life and
emotion.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>A system of this kind is a departure
from the more conventional opera and places a greater responsibility upon the
singer.<span style="mso-spacerun: yes;"> </span>He must learn to be a
cooperative member of a vast musical group rather than an individual “star”;
and, vocally, he must constantly assert himself along with a powerful and
richly scored orchestra.<span style="mso-spacerun: yes;"> </span>Thus, at the
outset, all Wagnerian roles require the sort of singing which is not
accompanied by an orchestra, properly speaking, but in which the singer must
rise to a plane of equality with it.<span style="mso-spacerun: yes;">
</span>This, in a few words, means that the Wagnerian interpreter, more than
any other, must sing with a full, large, round tone.<span style="mso-spacerun: yes;"> </span>That is what we mean by designating these
parts as “heavy” roles.<span style="mso-spacerun: yes;"> </span>They require
singers with big voices and much physical endurance.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Further, in his insistence on the
single, well-rounded dramatic whole, Wagner was careful to leave very exact
instructions as to the way in which he wished his music song.<span style="mso-spacerun: yes;"> </span>Now, when most singers cover a large vocal
span, from a low note to a high one or the reverse, they almost unconsciously
use a slight <a href="http://www.thefreedictionary.com/glissando" target="_blank"><i style="mso-bidi-font-style: normal;">glissando</i></a>, swooping upon
their tones in a vocal arc.<span style="mso-spacerun: yes;"> </span>In Wagner
this is taboo, and by Wagner’s own indications.<span style="mso-spacerun: yes;">
</span>Unless the interval is specially marked with a <i style="mso-bidi-font-style: normal;">glissando</i> slur, it may not be “swooped” upon, or delivered in a <a href="http://www.thefreedictionary.com/portamento" target="_blank"><i style="mso-bidi-font-style: normal;">portamento</i></a> style.<span style="mso-spacerun: yes;"> </span>Each tone must be attacked clearly and
separately.<span style="mso-spacerun: yes;"> </span>This is a difficult thing to
master without much practice, especially in such skips as may not be
interrupted for a fresh breath.<span style="mso-spacerun: yes;"> </span>And
Wagner is full of just such skips!<span style="mso-spacerun: yes;"> </span>For
the listener, they stand as one of his greatest and richest individualities.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s640/divider.jpg" width="640" /></a></div>
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Enjoy the following recording of Kirsten Flagstad "How (Not) To Sing Wagner-Advice For Young Singers" recorded in 1950:<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/S6Stoi8DAqU?feature=player_embedded' frameborder='0'></iframe></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s640/divider.jpg" width="640" /></a></div>
<br />
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">The
Wagnerian Method</span></i></b></div>
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<span style="font-family: "Bookman Old Style","serif";">AGAIN,
WE MUST remember that Wagner wrote his own lyric text, not as an “<a href="http://www.thefreedictionary.com/libretto" target="_blank">opera libretto</a>” but as independent dramatic verse, equally important with voice and
orchestra.<span style="mso-spacerun: yes;"> </span>This at once lifts the text
out of the category of words that have simply been “set to music.”<span style="mso-spacerun: yes;"> </span>They are vital in themselves, throwing light
on the characters’ thoughts and actions; and, as such, they must reach the
hearers as clearly as the music itself.<span style="mso-spacerun: yes;">
</span>This of course involves a special diction problem.<span style="mso-spacerun: yes;"> </span>The words must be both spoken and sung!<span style="mso-spacerun: yes;"> </span>Even a native German has to prepare very
carefully for Wagnerian diction; and non-Germans, such as you and I, must make
a special study, not only of German, but also of German refined for
Wagner!<span style="mso-spacerun: yes;"> </span>I have found that the great
point for which to work is a crisp, concise explosion of consonant values.<span style="mso-spacerun: yes;"> </span>My native Norwegian is not so explosive a
language as German; it is perhaps more like English in the quality of its
sounds; and I had to give special care to the sharp, incisive d’s, p’s, b’s,
k’s, t’s, and w’s, when first I began singing Wagner in German.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>My own career has been different from
that of most Metropolitan singers, in that I had comparatively little earlier
experience in wide repertory work.<span style="mso-spacerun: yes;">
</span>Before coming here I had sung only in Norway and Sweden, except for two
seasons in <a href="http://en.wikipedia.org/wiki/Bayreuth" target="_blank">Bayreuth</a>.<span style="mso-spacerun: yes;"> </span>In my native Oslo
we sang Wagner in Norwegian.<span style="mso-spacerun: yes;"> </span>When I
arrived at Bayreuth, to sing for <a href="http://en.wikipedia.org/wiki/Winifred_Wagner" target="_blank">Frau Wagner</a> and <a href="http://translate.google.com/translate?hl=en&sl=de&u=http://de.wikipedia.org/wiki/Heinz_Tietjen&prev=/search%3Fq%3DIntendant%2BTietjen%26client%3Dfirefox-a%26hs%3D50m%26rls%3Dorg.mozilla:en-US:official" target="_blank">Intendant Tietjen</a>, I sang as I
was accustomed to singing and soon learned that my Wagner style was not the
orthodox Bayreuth style!<span style="mso-spacerun: yes;"> </span>I was told that
my diction was not crisp enough.<span style="mso-spacerun: yes;"> </span>Also, I
needed to enlarge my voice.<span style="mso-spacerun: yes;"> </span>That meant
setting to work, not only on the roles I was to sing, but also on a complete
study of the special Wagner style, covering the points I have just
outlined.<span style="mso-spacerun: yes;"> </span>By the end of that season,
though, I, too, had a Wagner style.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">From
Small Beginnings</span></i></b></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">IT IS
READILY understandable that one can improve ones diction; but how, you will
ask, could I enlarge the power of my voice?<span style="mso-spacerun: yes;">
</span>By progressing slowly, by never forcing the voice in any way, and by
sparing myself no effort.<span style="mso-spacerun: yes;"> </span>I can
truthfully say that my voice reached its present scope less than three years
ago.<span style="mso-spacerun: yes;"> </span>As a girl and as a music student, I
had a very small voice.<span style="mso-spacerun: yes;"> </span>Indeed it is
solely because my voice was so small that I chanced to take singing lessons at
all!</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Mine is a musical family.<span style="mso-spacerun: yes;"> </span>My father was an orchestral conductor, and my
mother still conducts performances of opera and operetta in Oslo and coaches
singers in their parts.<span style="mso-spacerun: yes;"> </span>She is called
“the musical Mama of Oslo,” not<span style="mso-spacerun: yes;"> </span>because
of me but because so many singers depend on her for help in their work.<span style="mso-spacerun: yes;"> </span>Before I was six, I could sing many of the
Schubert songs, simply from hearing them at home.<span style="mso-spacerun: yes;"> </span>I was taught the piano, and I taught myself
several parts; <span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/Lohengrin_%28opera%29" target="_blank"><i style="mso-bidi-font-style: normal;">Elsa</i></a> at thirteen, and next, <a href="http://en.wikipedia.org/wiki/Aida" target="_blank"><i style="mso-bidi-font-style: normal;">Aida</i></a>;
but I never was expected to be a musician.<span style="mso-spacerun: yes;">
</span>My parents thought there should be at least one “practical” member of the
family and wanted me to become a doctor.<span style="mso-spacerun: yes;">
</span>I passed my preliminary academic examinations two years younger than
most students, worked too hard, and had a breakdown.<span style="mso-spacerun: yes;"> </span>So I did not study medicine after all.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>When I was confirmed we had a party at
home and I sang arias out of “<a href="http://en.wikipedia.org/wiki/Lohengrin_%28opera%29" target="_blank">Lohengrin</a>” and “<a href="http://en.wikipedia.org/wiki/Aida" target="_blank">Aida</a>” to help entertain the
guests.<span style="mso-spacerun: yes;"> </span>A musical friend of my mother’s said
it was a pity to use so small a voice for such heavy music, and offered to give
me a few lessons, just to keep me from ruining my voice.<span style="mso-spacerun: yes;"> </span>We began very slowly, very carefully, letting
the voice come out as naturally as possible.<span style="mso-spacerun: yes;">
</span>Then as my breathing improved and the voice became freer, my teacher
said that its quality was good.<span style="mso-spacerun: yes;"> </span>Indeed
she predicted that within two or three years I might even be ready to think
about public work.<span style="mso-spacerun: yes;"> </span>Neither my family or
I put much faith in such hopes, and I was set to learning stenography as a
means of livelihood.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Then, two years later, a performance
of “<a href="http://en.wikipedia.org/wiki/Tiefland_%28opera%29" target="_blank">Tiefland</a>” was organized in Oslo and I was allowed to try out for the part
of the child.<span style="mso-spacerun: yes;"> </span>I was the thirteenth
candidate heard at the audition, and I got the part.<span style="mso-spacerun: yes;"> </span>Two months later I made my debut—at
eighteen.<span style="mso-spacerun: yes;"> </span>I had never intended to be an
operatic singer, and yet my operatic career had begun.<span style="mso-spacerun: yes;"> </span>My voice found favor; some kind music patrons
of the city offered to finance my further studies; and I was sent to Stockholm
to work.<span style="mso-spacerun: yes;"> </span>After my study years, I
returned to Oslo and sang many roles in Italian, French, and German.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Elsa</i>
and <a href="http://en.wikipedia.org/wiki/Die_Meistersinger_von_N%C3%BCrnberg" target="_blank"><i style="mso-bidi-font-style: normal;">Eva</i></a> were my first Wagnerian
roles.<span style="mso-spacerun: yes;"> </span>Two and a half years ago, I sang <i style="mso-bidi-font-style: normal;">Isolde</i>, my first role in German.<span style="mso-spacerun: yes;"> </span>I was invited to give an audition at Bayreuth,
and there it was that I came into personal contact with the requirements of the
“Wagnerian style.”</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"></span><span style="font-family: "Bodoni MT","serif";">Enjoy Kirsten
Flagstad and the Orchestra of the <a href="http://en.wikipedia.org/wiki/Metropolitan_Opera" target="_blank">Metropolitan Opera</a> (<a href="http://en.wikipedia.org/wiki/Wilfrid_Pelletier" target="_blank">Wilfred Pelletier</a>
conducting) in a performance of<span style="mso-spacerun: yes;"> </span>“Ho jo
To ho” from Richard Wagner’s <a href="http://en.wikipedia.org/wiki/Die_Walk%C3%BCre" target="_blank"><i style="mso-bidi-font-style: normal;">Die Walkure</i></a>:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/tAo_fTiZ2hY/0.jpg" height="266" width="320"><param name="movie" value="http://youtube.googleapis.com/v/tAo_fTiZ2hY&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/tAo_fTiZ2hY&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s640/divider.jpg" width="640" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Bodoni MT","serif";"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">Let
Nature Have Her Way</span></i></b></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">ALL
ALONG, my voice had remained comparatively small.<span style="mso-spacerun: yes;"> </span>Study had improved it greatly, of course;
but, even though I was singing large roles, it had not yet reached its full
power.<span style="mso-spacerun: yes;"> </span>My voice developed by its use in
singing.<span style="mso-spacerun: yes;"> </span>That is the best method I can
recommend.<span style="mso-spacerun: yes;"> </span>I am certain that the mastery
of <i style="mso-bidi-font-style: normal;">Isolde</i> gave me my full voice.<span style="mso-spacerun: yes;"> </span>Once a student has a firm background of
correct personal singing methods, the only sensible thing is to go ahead and
apply them, allowing time and proper vocal habits to open up the voice.<span style="mso-spacerun: yes;"> </span>Some voices may take longer than others to
reach their full scope, as did mine; but the natural method is the only one to
follow.<span style="mso-spacerun: yes;"> </span>Forcing the voice for more power
defeats its own purpose and ruins the organ.<span style="mso-spacerun: yes;">
</span>Whatever one is to have vocally, must come naturally, for singing is a
natural physical activity.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>I do not believe, however, in
pampering the voice.<span style="mso-spacerun: yes;"> </span>One reason why my
voice grew, I think, is because I always allowed it fullest scope.<span style="mso-spacerun: yes;"> </span>I do all my practicing, coaching, and
rehearsing in full voice.<span style="mso-spacerun: yes;"> </span>I never use
<a href="http://www.thefreedictionary.com/mezza+voce" target="_blank">mezza voce</a>, unless the score specifically call for it.<span style="mso-spacerun: yes;"> </span>While I should not go so far as to advocate
this for another, whose voice and general robustness may be different from my
own, I can tell you that it has helped me greatly.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>While studying <a href="http://www.youtube.com/watch?v=BrtKNZwWLiM" target="_blank"><i style="mso-bidi-font-style: normal;">Isolde</i></a>, I sang the entire part every day in full voice, and then
appeared at the theater in the evening for my regular performance.<span style="mso-spacerun: yes;"> </span>Thus, I sang two Wagnerian roles a day.<span style="mso-spacerun: yes;"> </span>I worked hard.<span style="mso-spacerun: yes;"> </span>Then, when I had the part well in hand, I
noticed a strange thing:<span style="mso-spacerun: yes;"> </span>I weighed
exactly the same as I had weighed before, and I certainly looked no stouter;
but the sleeves of my dresses were bursting out in the back!<span style="mso-spacerun: yes;"> </span>What had happened was that my lung expansion
had developed.<span style="mso-spacerun: yes;"> </span>And then it was that my
voice sounded fuller, more powerful, more dramatic.<span style="mso-spacerun: yes;"> </span>Intendant Tietjen, who had heard me earlier,
exclaimed that he would not believe it to be the same voice.<span style="mso-spacerun: yes;"> </span>It grew by slow, natural methods of
development, and by unsparing hard work.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">Creating
the Role</span></i></b></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">BUT TO
RETURN to our discussion of the Wagnerian singer’s needs.<span style="mso-spacerun: yes;"> </span>We have touched upon the requisites of voice
and study; let us now consider that question of “spiritual approach.”<span style="mso-spacerun: yes;"> </span>The power of the Wagnerian characters lies in
the fact that they are not “story book people”—they are actual figures of
history and legend, who present to us real life, real emotion, real
conflict.<span style="mso-spacerun: yes;"> </span>Without in any way disparaging
the other operatic heroines, I think you will agree with me that <i style="mso-bidi-font-style: normal;">Isolde</i> stands as the greatest tragic
figure in opera.<span style="mso-spacerun: yes;"> </span>She does not merely
represent a woman tragically and fatefully in love; she is that woman.<span style="mso-spacerun: yes;"> </span>She is the very embodiment, not of a person
in a tale but of a force that might come into the life of any one of us.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>It is this utter and supreme reality
which the Wagnerian singer must learn to capture.<span style="mso-spacerun: yes;"> </span>How to do it?<span style="mso-spacerun: yes;">
</span>By absorbing the part completely; by living with it, becoming it.<span style="mso-spacerun: yes;"> </span>By learning all one can of the age, the
habits, the customs and the history of the character and her times. By lowing
one’s own identity in that of the character, instead of merely dressing up
one’s identity to “play a part.”<span style="mso-spacerun: yes;"> </span>All
this is extremely elusive to talk about, I know; and yet it is one of the most
important requisites of Wagnerian singing.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>And finally, I should counsel all
aspiring young singers to crown as much versatility as possible into their
work.<span style="mso-spacerun: yes;"> </span>Here again I speak from
experience.<span style="mso-spacerun: yes;"> </span>My own preparatory work
lacked versatility, for the simple reason that there was no way of getting a
truly wide repertory at home.<span style="mso-spacerun: yes;"> </span>Opera in
Oslo is not what it is here.<span style="mso-spacerun: yes;"> </span>We have no
full operatic season, where a different work is mounted every night, and the
same singer may have a chance to take part in two or three different types of
opera each week.<span style="mso-spacerun: yes;"> </span>In Oslo we have a
theater which gives regular plays during the year, and then four or five weeks
of opera, in addition.<span style="mso-spacerun: yes;"> </span>Perhaps only two
or three operas are given during the season, and they are repeated each evening
for a week or longer.<span style="mso-spacerun: yes;"> </span>Thus one might
sing every night, but always in the same parts.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>In Stockholm, of course, they do have
a varied repertory; but the smaller Scandinavian cities proceed after the
fashion of Oslo.<span style="mso-spacerun: yes;"> </span>In Gothenburg, for
instance, where I appeared just before coming to join the Metropolitan, I sang
only two operas—twelve time in “<a href="http://en.wikipedia.org/wiki/Fidelio" target="_blank">Fidelio</a>” and fourteen times in “<a href="http://en.wikipedia.org/wiki/Tannh%C3%A4user_%28opera%29" target="_blank">Tannhauser</a>.”<span style="mso-spacerun: yes;"> </span>I had to learn the flexible versatility of
operatic repertory over here; and it is an excellent thing.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Another thing I learned over here is
the wonderful kindness of you Americans. Never in my life had I dreamed that
people could be so warm, so generous, so truly welcoming to a perfect
stranger.<span style="mso-spacerun: yes;"> </span>It has been the richest
possible experience to come here, and I shall always count it gratefully as the
high point of my career.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif"; mso-bidi-font-family: "Bookman Old Style"; mso-fareast-font-family: "Bookman Old Style";"> SELF-TEST
QUESTIONS ON MISS FLAGSTAD’S ARTICLE<span style="mso-list: Ignore;"> </span></span></i></div>
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: 0.0001pt; text-indent: -0.25in;">
<i><span style="font-family: "Bookman Old Style","serif";"> 1.<span style="font: 7.0pt "Times New Roman";">
</span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">What special requirements does
the Wagnerian opera demand of the singer?</span></i></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif"; mso-bidi-font-family: "Bookman Old Style"; mso-fareast-font-family: "Bookman Old Style";"><span style="mso-list: Ignore;"> 2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">How long does </span></i><span style="font-family: "Bookman Old Style","serif";">Isolde<i style="mso-bidi-font-style: normal;"> sing in a single performance?</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif"; mso-bidi-font-family: "Bookman Old Style"; mso-fareast-font-family: "Bookman Old Style";"><span style="mso-list: Ignore;"> 3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">In what particular way does
Wagnerian singing demand an approach of tone </span></i></div>
<div class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;">
<i><span style="font-family: "Bookman Old Style","serif";"> different from that of much other
singing?</span></i></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif"; mso-bidi-font-family: "Bookman Old Style"; mso-fareast-font-family: "Bookman Old Style";"><span style="mso-list: Ignore;"> 4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">What method of developing the
full resources of the voice is here recommended?</span></i></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif"; mso-bidi-font-family: "Bookman Old Style"; mso-fareast-font-family: "Bookman Old Style";"><span style="mso-list: Ignore;"> 5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">What is a distinctive quality of
Wagner’s characters in his operas, and why?</span></i></div>
<div class="MsoListParagraphCxSpLast" style="text-indent: -0.25in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSbC0E3suAeHWCEsOzbixqWv4wXJDDbreTmaqEp6vl0AUdQq12WNyKSrnreMwMtNKBaP_6BHuj75QD7CKRJ6bX6EdsRdzhJZj-mgFgwdxRuNk5MX4T0YiESivQaruiFYRNvVgndIvwvd0/s640/divider.jpg" width="640" /></a></div>
<div class="MsoListParagraphCxSpLast" style="text-indent: -0.25in;">
<i><span style="font-family: "Bookman Old Style","serif";"> </span></i><span style="font-family: "Bookman Old Style","serif";">Enjoy the following documentary on Kirsten Flagstad:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Ww3Zr-iyJ1c?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoListParagraphCxSpLast" style="text-indent: -0.25in;">
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THE ETUDE MUSIC MAGAZINE – November 1935</div>
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-30917792103547616092013-06-21T18:04:00.000-07:002013-06-21T18:43:32.320-07:00Music at the Festival of Britain<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWqKdZht26gqWu5G2kJ-4jksS6QOl33mPlxuJrEza837jGir76ohhFuW0A5nLPukNyAna81JVvN3fAYcv_yI3oIwswNhcgvO657e5rl62vv9qv298HR6P3cgbHKxsfGM4CVZJqIRVtwYBi/s1600/1951MayBritFestTITLE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWqKdZht26gqWu5G2kJ-4jksS6QOl33mPlxuJrEza837jGir76ohhFuW0A5nLPukNyAna81JVvN3fAYcv_yI3oIwswNhcgvO657e5rl62vv9qv298HR6P3cgbHKxsfGM4CVZJqIRVtwYBi/s640/1951MayBritFestTITLE.jpg" width="640" /></a></div>
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<span style="font-family: "Bodoni MT","serif"; font-size: 56.0pt; mso-bidi-font-size: 11.0pt; mso-text-raise: -3.0pt;">O</span></div>
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<span style="font-family: "Bodoni MT","serif";">NE HUNDRED
YEARS AGO, in May, 1851, <a href="http://en.wikipedia.org/wiki/Queen_Victoria" target="_blank">Queen Victoria</a> and her <a href="http://en.wikipedia.org/wiki/Albert,_Prince_Consort" target="_blank">Prince Consort</a> drove to <a href="http://en.wikipedia.org/wiki/Hyde_Park,_London" target="_blank">Hyde Park</a> to open the “<a href="http://en.wikipedia.org/wiki/The_Great_Exhibition" target="_blank">Great Exhibition</a>.”<span style="mso-spacerun: yes;"> </span>It
offered scientific and industrial displays, and concerts in a great hall of
glass, the “<a href="http://en.wikipedia.org/wiki/The_Crystal_Palace" target="_blank">Crystal Palace</a>” which, nervous experts predicted, would collapse at
the first salvo of the <a href="http://en.wikipedia.org/wiki/21-gun_salute#United_Kingdom" target="_blank">Royal Salute</a>.<span style="mso-spacerun: yes;"> </span>(As
a matter of fact, the Crystal Palace stood until leveled by Nazi bombers in
World War II.)</span></div>
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<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>This month, <a href="http://en.wikipedia.org/wiki/George_VI" target="_blank">King George VI</a> and <a href="http://en.wikipedia.org/wiki/Elizabeth_II" target="_blank">Queen Elizabeth</a> will open another mammoth event, the “<a href="http://www.youtube.com/watch?v=m9uGlfvyH0M" target="_blank">Festival of Britain</a>,” which is
to continue throughout the summer.<span style="mso-spacerun: yes;"> </span>It
will be a music festival of international importance, with celebrated artists
from all over the world taking part.<span style="mso-spacerun: yes;">
</span>Music-lovers, too, will gather from America and Europe to attend Festival
concerts.<span style="mso-spacerun: yes;"> </span>Except for England’s music
magazine, <a href="http://www.thestrad.com/" target="_blank"><i style="mso-bidi-font-style: normal;">The Strad</i></a>, which sourly
described it as “an ill-timed festival which nobody wants,” there appears to be
general enthusiasm for the forthcoming Festival of Britain.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_PKO6UeY5pVCAENn3p682RP6YXFz6HCFDd7HK7cKnyFtSxJYL84NdcegPZcUP1XAhKa4cwxFeG4cdbn6NWVhc7XcInvlW-W24tGrCtIFIPfdBHh_-6ghHoXnf_4PU0PMP81H4r_5pDVD/s1600/1951MayBritFest2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_PKO6UeY5pVCAENn3p682RP6YXFz6HCFDd7HK7cKnyFtSxJYL84NdcegPZcUP1XAhKa4cwxFeG4cdbn6NWVhc7XcInvlW-W24tGrCtIFIPfdBHh_-6ghHoXnf_4PU0PMP81H4r_5pDVD/s400/1951MayBritFest2.JPG" width="400" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Bodoni MT","serif";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCTqkdNCiU4-dwHkd_eoWYTN0QzwqoA36E5XUZ9LUhsI-A7cAU2LoRcbK5oheBZC2YOPFtm-Fqqvv_j6VeczurDrofePQFrishcjPp3B7RFzJQdZsgGdx-ta43MiZE1jY3lNtPWt7SkdVl/s1600/1951MayBritFest3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCTqkdNCiU4-dwHkd_eoWYTN0QzwqoA36E5XUZ9LUhsI-A7cAU2LoRcbK5oheBZC2YOPFtm-Fqqvv_j6VeczurDrofePQFrishcjPp3B7RFzJQdZsgGdx-ta43MiZE1jY3lNtPWt7SkdVl/s400/1951MayBritFest3.JPG" width="400" /></a></span></div>
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<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>According to advance plans, the
Festival will open on May 3 with a concert by the <a href="http://www.bbc.co.uk/orchestras/symphonyorchestra/" target="_blank">BBC Symphony Orchestra</a> under
the baton of <a href="http://en.wikipedia.org/wiki/Malcolm_Sargent" target="_blank">Sir Malcolm Sargent</a>.<span style="mso-spacerun: yes;"> </span>Other
orchestras scheduled to perform during the London season are the<a href="http://www.lpo.co.uk/" target="_blank"> London Philharmonic</a>,<a href="http://en.wikipedia.org/wiki/Adrian_Boult" target="_blank"> Sir Adrian Boult</a> and <a href="http://en.wikipedia.org/wiki/Eduard_van_Beinum" target="_blank">Eduard van Beinum</a> conducting; the <a href="http://lso.co.uk/" target="_blank">London Symphony Orchestra</a>, Sir Malcom Sargent conducting; the <a href="http://www.philharmonia.co.uk/" target="_blank">Philharmonia Orchestra</a>,
<a href="http://en.wikipedia.org/wiki/Rafael_Kubel%C3%ADk" target="_blank">Rafael Kubelik</a> conducting; and the <a href="http://www.rpo.co.uk/" target="_blank">Royal Philharmonic Orchestra</a>, <a href="http://en.wikipedia.org/wiki/Thomas_Beecham" target="_blank">Sir Thomas Beecham</a> conducting.</span><br />
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<span style="font-family: "Bodoni MT","serif";"> <span style="mso-tab-count: 1;"> </span>Orchestras outside London are
preparing special programs for the London season.<span style="mso-spacerun: yes;"> </span>They include the <a href="http://www.bsolive.com/" target="_blank">Bournemouth Municipal Orchestra</a>, the <a href="http://www.cbso.co.uk/" target="_blank">City of Birmingham Symphony Orchestra</a>, the<a href="http://www.halle.co.uk/" target="_blank"> Hallé Orchestra</a>, the
<a href="http://www.liverpoolphil.com/" target="_blank">Liverpool Philharmonic Orchestra</a>, and the <a href="http://en.wikipedia.org/wiki/Yorkshire_Symphony_Orchestra" target="_blank">Yorkshire Symphony Orchestra</a>.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>Chamber orchestras and string
orchestras appearing at the Festival include the <a href="http://en.wikipedia.org/wiki/Boyd_Neel#The_Boyd_Neel_Orchestra" target="_blank">Boyd Neel Orchestra</a>, the
Jacques String Orchestra, the <a href="http://www.lco.co.uk/" target="_blank">London Chamber Orchestra</a>, the<a href="http://www.lmp.org/" target="_blank"> London Mozart Players</a>, the <a href="http://www.nlo.co.uk/" target="_blank">New London Orchestra</a>, and the Riddick String Orchestra.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>Opera, too, will be represented at
the Festival.<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/Covent_Garden" target="_blank">Covent Garden</a> will offer
Wagner’s “<a href="http://en.wikipedia.org/wiki/Parsifal" target="_blank">Parsifal</a>” and his <a href="https://en.wikipedia.org/wiki/Der_Ring_des_Nibelungen" target="_blank">“Ring” cycle</a>, with <a href="http://en.wikipedia.org/wiki/Kirsten_Flagstad" target="_blank">Kirsten Flagstad</a> and <a href="http://en.wikipedia.org/wiki/Set_Svanholm" target="_blank">Set Svanholm</a> in leading roles; <a href="https://en.wikipedia.org/wiki/Christoph_Willibald_Gluck" target="_blank">Gluck</a>’s “<a href="http://www.youtube.com/watch?v=7nxcy-bEs0U" target="_blank">Alceste</a>”; and the world premiere of <a href="http://en.wikipedia.org/wiki/Ralph_Vaughan_Williams" target="_blank">Vaughan Williams</a>’ “<a href="http://en.wikipedia.org/wiki/The_Pilgrim%27s_Progress_%28opera%29" target="_blank">Pilgrim’s Progress</a>.”</span><br />
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<span style="font-family: "Bodoni MT","serif";">Enjoy Kirsten
Flagstad and the Orchestra of the <a href="http://en.wikipedia.org/wiki/Metropolitan_Opera" target="_blank">Metropolitan Opera</a> (<a href="http://en.wikipedia.org/wiki/Wilfrid_Pelletier" target="_blank">Wilfred Pelletier</a>
conducting) in a performance of<span style="mso-spacerun: yes;"> </span>“Ho jo
To ho” from Richard Wagner’s <a href="http://en.wikipedia.org/wiki/Die_Walk%C3%BCre" target="_blank"><i style="mso-bidi-font-style: normal;">Die Walkure</i></a>:</span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>The <a href="http://www.sadlerswells.com/" target="_blank">Sadler’s Wells Theatre</a> offers
“<a href="http://www.youtube.com/watch?v=1eLXwQrCd88" target="_blank">Don Carlos</a>” and “<a href="http://www.youtube.com/watch?v=TspabkDxLWI" target="_blank">Simon Boccanegra</a>,” by <a href="http://en.wikipedia.org/wiki/Giuseppe_Verdi" target="_blank">Verdi</a>; Vaughan Williams’ “<a href="http://www.youtube.com/watch?v=z02p7Ld6XGw" target="_blank">Hugh the Drover</a>”; <a href="http://en.wikipedia.org/wiki/Ermanno_Wolf-Ferrari" target="_blank">Wolf-Ferrari</a>’s “<a href="http://www.youtube.com/watch?v=su8nEthSxvg" target="_blank">School for Fathers</a>” and “<a href="http://www.youtube.com/watch?v=ivlUMWUJ-1w" target="_blank">Dido and Aeneas</a>” by <a href="http://en.wikipedia.org/wiki/Henry_Purcell" target="_blank">Purcell</a>.</span></div>
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<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>The <a href="http://www.lyric.co.uk/about" target="_blank">Lyric Theatre of Hammersmith</a>
will present four operas by <a href="http://en.wikipedia.org/wiki/Benjamin_Britten" target="_blank">Benjamin Britten</a>:<span style="mso-spacerun: yes;">
</span>“<a href="http://www.youtube.com/watch?v=dL9am4_Vjck" target="_blank">Albert Herring</a>”; “<a href="http://en.wikipedia.org/wiki/The_Rape_of_Lucretia" target="_blank">The Rape of Lucretia</a>”; “<a href="http://www.youtube.com/watch?v=A_gQcHYcBJQ" target="_blank">Let’s Make an Opera</a>”: and
“<a href="http://www.youtube.com/watch?v=TW2GIYQTtIY" target="_blank">The Beggar’s Opera</a>.”</span></div>
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<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>The <a href="http://www.savoytheatre.com/" target="_blank">Savoy Theatre</a> will present its
world-famous performances of <a href="http://en.wikipedia.org/wiki/Gilbert_and_Sullivan" target="_blank">Gilbert and Sullivan</a> operas, and at nearby <a href="http://glyndebourne.com/" target="_blank">Glyndebourne</a>, Mozart’s “<a href="http://www.youtube.com/watch?v=SotSKAYTyDw" target="_blank">Don Giovanni</a>,” “<a href="https://en.wikipedia.org/wiki/The_Marriage_of_Figaro" target="_blank">Marriage of Figaro</a>,” “<a href="http://www.youtube.com/watch?v=8OUrafVroho" target="_blank">Cosi fan tutte</a>”
and “<a href="http://www.youtube.com/watch?v=-PKLsjD7pUU" target="_blank">Idomeneo</a>.”<span style="mso-tab-count: 1;"> </span> </span><br />
<span style="font-family: "Bodoni MT","serif";"> The
British tradition of choral singing will be upheld by four performances a week
throughout the Festival season.<span style="mso-spacerun: yes;"> </span>Choirs
from London, Huddersfield, Glasgow, Wales and Yorkshire will participate.<span style="mso-spacerun: yes;"> </span>Choral works to be heard include Bach’s “<a href="http://www.youtube.com/watch?v=M_LLFfFXaUA" target="_blank">St. Matthew Passion</a>,” “<a href="http://www.youtube.com/watch?v=-d9FLEIQfME" target="_blank">St. John Passion</a>” and <a href="http://www.youtube.com/watch?v=G8XHrT7DBwA%20" target="_blank">B Minor Mass</a>; Beethoven’s “<a href="http://www.youtube.com/watch?v=-uSME7Bv4JE" target="_blank">Missa Solemnis” in D Minor</a>; the <a href="http://en.wikipedia.org/wiki/Johannes_Brahms" target="_blank">Brahms</a> “<a href="http://www.youtube.com/watch?v=MAnUk6MxXQ0" target="_blank">Requiem</a>”; “<a href="http://www.youtube.com/watch?v=2T0elGgT5fM" target="_blank">The Apostles</a>,” “<a href="http://www.youtube.com/watch?v=wRcVokdpXqw%20" target="_blank">The Kingdom</a>” and
“<a href="http://www.youtube.com/watch?v=ABfbz7_Zu-o" target="_blank">The Dream of Gerontius</a>” by <a href="http://en.wikipedia.org/wiki/Edward_Elgar" target="_blank">Elgar</a>; Handel’s “<a href="http://www.youtube.com/watch?v=76RrdwElnTU" target="_blank">Messiah</a>” and “<a href="http://www.youtube.com/watch?v=iu_2nVJonqA" target="_blank">Acis and Galatea</a>”;
Haydn’s “<a href="http://www.youtube.com/watch?v=aePINbzC6bs" target="_blank">Creation</a>”; Mendelssohn’s “<a href="http://www.youtube.com/watch?v=aMf-X0zN_Os" target="_blank">Hymn of Praise</a>”; Verdi’s “<a href="http://www.youtube.com/watch?v=9Ga26Lxw9RE" target="_blank">Manzone Requiem</a>”;
“Belshazzar’s Feast,” by <a href="http://en.wikipedia.org/wiki/William_Walton" target="_blank">Walton</a>; and “<a href="http://en.wikipedia.org/wiki/Sancta_Civitas" target="_blank">Sancta Civitas</a>” and “<a href="http://www.youtube.com/watch?v=Vw2Vy1laWMg" target="_blank">A Sea Symphony</a>” by
Vaughan Williams.</span><br />
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<span style="font-family: "Bodoni MT","serif";">Enjoy William
Walton’s <i style="mso-bidi-font-style: normal;">Belshazzar’s Feast</i>,
performed here by the <a href="http://www.bbc.co.uk/orchestras/bbcnow/" target="_blank">BBC National Orchestra and Chorus of Wales</a>, <a href="http://londonbrass.net/" target="_blank">London Brass</a>,
the <a href="http://en.wikipedia.org/wiki/BBC_Symphony_Chorus" target="_blank">BBC Symphony Chorus</a> and baritone<a href="http://jonathanlemalu.com/" target="_blank"> Jonathan Lemalu</a> (<a href="http://en.wikipedia.org/wiki/Tadaaki_Otaka" target="_blank">Tadaaki Otaka</a>,
conducting):</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/5S7By7pDjJ4?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-family: "Bodoni MT","serif";"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3dx_lE7Kf-gI9rZa8LhZwdtJXodIUcsdrl3mNEyh08xIrBsWbIXyBJE62kCoLbtRwN-HXcwqteAA6K43U_JsKgD5yGwlOuj50s5iCmyWDfMN4ocEcjoRkOypuQqzCkpcrBtqMos6giH_s/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3dx_lE7Kf-gI9rZa8LhZwdtJXodIUcsdrl3mNEyh08xIrBsWbIXyBJE62kCoLbtRwN-HXcwqteAA6K43U_JsKgD5yGwlOuj50s5iCmyWDfMN4ocEcjoRkOypuQqzCkpcrBtqMos6giH_s/s640/divider.jpg" width="640" /></a></div>
<span style="font-family: "Bodoni MT","serif";"></span><span style="font-family: "Bodoni MT","serif";">Ballet will be staged by the <a href="http://www.sadlerswells.com/" target="_blank">Sadler’s Wells Company</a>, headed by <a href="http://en.wikipedia.org/wiki/Margot_Fonteyn" target="_blank">Margot Fonteyn</a>, <a href="http://en.wikipedia.org/wiki/Robert_Helpmann" target="_blank">Robert Helpmann</a>
and <a href="http://en.wikipedia.org/wiki/Moira_Shearer" target="_blank">Moira Shearer</a>.</span></div>
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<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>During and after the London season,
other Festival of Britain activities will be taking place in Aberdeen,
Aldeburgh, Bath, Bournemouth, Cambridge, Canterbury, Cheltenham, Liverpool,
Norwich, Swansea, Worcester and Edinburgh.</span></div>
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<span style="font-family: "Bodoni MT","serif";"><span style="mso-tab-count: 1;"> </span>The<a href="http://en.wikipedia.org/wiki/Edinburgh_Festival" target="_blank"> Edinburgh Festival</a>, one of
Europe’s leading summer music events, this year will present the leading
English orchestras and a guest appearance by the <a href="http://nyphil.org/" target="_blank">New York Philharmonic-Symphony</a>, conducted by <a href="http://en.wikipedia.org/wiki/Bruno_Walter" target="_blank">Bruno Walter</a> and <a href="http://en.wikipedia.org/wiki/Dimitri_Mitropoulos" target="_blank">Dimitri Mitropoulos</a>, and
with <a href="http://www.youtube.com/watch?v=C-zNJlVsVhk" target="_blank">Robert Casadesus</a>, <a href="http://en.wikipedia.org/wiki/Zino_Francescatti" target="_blank">Zino Francescatti</a>, <a href="http://en.wikipedia.org/wiki/Myra_Hess" target="_blank">Dame Myra Hess</a>, <a href="http://en.wikipedia.org/wiki/Rudolf_Serkin" target="_blank">Rudolf Serkin</a> and
Solomon as soloists.<span style="mso-spacerun: yes;"> </span>Other artists to be
heard at Edinburgh are <a href="http://en.wikipedia.org/wiki/Kathleen_Ferrier%20" target="_blank">Kathleen Ferrier</a>, contralto (with Bruno Walter at the
piano); <a href="http://www.youtube.com/watch?v=Ee21a2RKWdg" target="_blank">Pierre Bernac, baritone with composer-pianist Francis Poulenc at the piano</a>; and <a href="http://en.wikipedia.org/wiki/Mack_Harrell" target="_blank">Mack Harrell</a>, American baritone.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsFoHOpXXbsw-_HG0j7oI2EWjMIoRzk7YqjSSG1XpXLqw3KhfMDGv-mStCiS5Gb3upKfufqVOD5WUBhlOyzvYb1HxPzm0Jy_hbNbuIhVR7NnzaC3hASGTeqf8c3f9gzjy82deDJZ8yNOPn/s1600/1951MayBritFest4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsFoHOpXXbsw-_HG0j7oI2EWjMIoRzk7YqjSSG1XpXLqw3KhfMDGv-mStCiS5Gb3upKfufqVOD5WUBhlOyzvYb1HxPzm0Jy_hbNbuIhVR7NnzaC3hASGTeqf8c3f9gzjy82deDJZ8yNOPn/s320/1951MayBritFest4.JPG" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3dx_lE7Kf-gI9rZa8LhZwdtJXodIUcsdrl3mNEyh08xIrBsWbIXyBJE62kCoLbtRwN-HXcwqteAA6K43U_JsKgD5yGwlOuj50s5iCmyWDfMN4ocEcjoRkOypuQqzCkpcrBtqMos6giH_s/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3dx_lE7Kf-gI9rZa8LhZwdtJXodIUcsdrl3mNEyh08xIrBsWbIXyBJE62kCoLbtRwN-HXcwqteAA6K43U_JsKgD5yGwlOuj50s5iCmyWDfMN4ocEcjoRkOypuQqzCkpcrBtqMos6giH_s/s640/divider.jpg" width="640" /></a><br />
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<span style="font-family: "Bodoni MT","serif";">Enjoy Zino
Francescatti performing <a href="http://en.wikipedia.org/wiki/Pablo_de_Sarasate" target="_blank">Pablo de Sarasate’s</a> <i style="mso-bidi-font-style: normal;">Gypsy Airs (Zigernerweisen)</i>:</span></div>
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THE ETUDE MUSIC MAGAZINE – May 1951<span style="font-family: "Bodoni MT","serif";"> </span></div>
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-741652718698752022013-06-14T16:43:00.000-07:002013-06-14T16:43:02.150-07:00Shakespeare<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Bookman Old Style","serif";"> </span>THE ETUDE MUSIC MAGAZINE – August 1912 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-12442863977317376062013-06-08T06:44:00.000-07:002013-06-08T06:57:38.798-07:00Chopin's Nocturne Op. 32, No. 2, A Master Lesson<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"></span>by <a href="http://en.wikipedia.org/wiki/Isidor_Philipp" target="_blank">Isidore Philipp</a>, Eminent French Piano Virtuoso and Teacher<span style="font-family: "Bookman Old Style","serif";"></span><span style="font-family: "Bookman Old Style","serif";"></span></div>
<br />
<span style="font-family: "Bookman Old Style","serif";"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Bookman Old Style","serif";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL6yjktznRdcNqbFIfr9wnc7fkKAG320a-vxAf17K8NzPP69IYmSPR7CIS2a_0QaZRJ3wZRRb8j946JUjikfot84MDkhjLlxXFWhvupg6UmqJ3cv82e5hqpnsOCnvT3wfpYJEPgHzFwEzh/s1600/ETUDE1940januaryIsidorPhilipp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL6yjktznRdcNqbFIfr9wnc7fkKAG320a-vxAf17K8NzPP69IYmSPR7CIS2a_0QaZRJ3wZRRb8j946JUjikfot84MDkhjLlxXFWhvupg6UmqJ3cv82e5hqpnsOCnvT3wfpYJEPgHzFwEzh/s400/ETUDE1940januaryIsidorPhilipp.jpg" width="400" /></a></span></div>
<span style="font-family: "Bookman Old Style","serif";">
<br />
In the
years 1809 and 1810 there came into the world three great artists whom a tragic
fate removed all too early from their admiring contemporaries.<span style="mso-spacerun: yes;"> </span>They were Mendelssohn, Chopin and
Schumann.<span style="mso-spacerun: yes;"> </span>After a century and more,
their works still enchant those who love and feel music.</span><br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Of the three, Chopin alone chose to compose
for the piano only.<span style="mso-spacerun: yes;"> </span>“Why do you not
write on opera?”<span style="mso-spacerun: yes;"> </span>Asked Count Perthuis of
him one day.<span style="mso-spacerun: yes;"> </span>“Ah! Monsieur,” replied
Chopin,<span style="mso-spacerun: yes;"> </span>“Let me write music for the
piano; it is all that I know how to do.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Chopin came to Paris in the fall of
1831, in the full flower of Romanticism.<span style="mso-spacerun: yes;">
</span>He gave his first public concert early in 1832.<span style="mso-spacerun: yes;"> </span>On that occasion he played his “Concerto in F
minor” and his <a href="http://www.youtube.com/watch?v=8dbGJJrshoU" target="_blank">“</a><i style="mso-bidi-font-style: normal;"><a href="http://www.youtube.com/watch?v=8dbGJJrshoU" target="_blank">La ci darem” Variations with Orchestra</a> </i>from the “Don Giovanni” of Mozart, before a large
audience.<span style="mso-spacerun: yes;"> </span>In 1833 he was heard again,
this time in a concert with <a href="http://en.wikipedia.org/wiki/Franz_Liszt" target="_blank">Liszt</a> and <a href="http://en.wikipedia.org/wiki/Ferdinand_Hiller" target="_blank">Hiller</a>.<span style="mso-spacerun: yes;">
</span>Each of these concerts attracted an illustrious assemblage.<span style="mso-spacerun: yes;"> </span>With Liszt, whose friend Chopin had become,
he shared the enthusiasm of a loyal public.<span style="mso-spacerun: yes;">
</span>His life, his rare distinction of character, his Polish origin, also,
just at the time when Poland stirred all classes of romantic generosity—all
these elements made Paris glory in him.<span style="mso-spacerun: yes;">
</span><a href="http://en.wikipedia.org/wiki/Heinrich_Heine" target="_blank">Heinrich Heine</a>, the most admirable of all the German poets, whose friend
Chopin was, called him the <a href="http://en.wikipedia.org/wiki/Raphael" target="_blank">Raphael</a> of the piano.<span style="mso-spacerun: yes;"> </span>“Poland gave him her feeling for chivalry and
her historic suffering; France, her elegance and grace; Nature, a countenance
of charm and refinement, a heart which is noble and filled with genius.<span style="mso-spacerun: yes;"> </span>He is neither Polish, nor French, nor
German.<span style="mso-spacerun: yes;"> </span>He comes from the land of Mozart
and Raphael.<span style="mso-spacerun: yes;"> </span>His true country is the
realm of music and poetry.”<span style="mso-spacerun: yes;"> </span>No heart
that was not warmed unto his art.</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s640/divider.jpg" width="640" /></a></div>
<br />
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<![endif]--><span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Enjoy Chopin’s <i>Concerto in F minor</i>, performed by
<a href="http://en.wikipedia.org/wiki/Arthur_Rubinstein" target="_blank">Arthur Rubinstein</a>, piano, and the <a href="http://lso.co.uk/" target="_blank">London Symphony Orchestra</a>, <a href="http://www.andre-previn.com/" target="_blank">Andre Previn</a>
conducting (1975 <a href="http://en.wikipedia.org/wiki/Arte" target="_blank">ARTE</a> Broadcast):</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Ge-V8PwR9hI?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif"; font-size: 11pt; line-height: 115%;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Bookman Old Style","serif";">Contemporaries Acclaim</span></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>He associated himself with all the
great artists who were in Paris at that time—Heine, Liszt, <a href="http://en.wikipedia.org/wiki/Giacomo_Meyerbeer" target="_blank">Meyerbeer</a>, <a href="http://en.wikipedia.org/wiki/Fromental_Hal%C3%A9vy%20" target="_blank">Halevy</a>,
<a href="http://en.wikipedia.org/wiki/Gioachino_Rossini" target="_blank">Rossini</a>, <a href="http://en.wikipedia.org/wiki/Eug%C3%A8ne_Delacroix" target="_blank">Delacroix</a>, <a href="http://en.wikipedia.org/wiki/Hector_Berlioz" target="_blank">Berlioz</a>, <a href="http://en.wikipedia.org/wiki/Sigismond_Thalberg" target="_blank">Thalberg</a>, <a href="http://en.wikipedia.org/wiki/Stephen_Heller" target="_blank">Stephen Heller</a>; and from the moment of
his appearance anywhere he was greeted with murmurs of pleasure and feverish
anticipation.<span style="mso-spacerun: yes;"> </span>The great singer,
Artot-Padilla, wrote to him in 1841:<span style="mso-spacerun: yes;"> </span>“My
dear Chopin, do you know that you make me jealous?<span style="mso-spacerun: yes;"> </span>Wherever one goes all the women are talking
of Chopin:<span style="mso-spacerun: yes;"> </span>‘Do you know Chopin”<span style="mso-spacerun: yes;"> </span>Have you heard Chopin”<span style="mso-spacerun: yes;"> </span>I would like to have Chopin here!’—Chopin
here.<span style="mso-spacerun: yes;"> </span>Chopin there—towering like a
pyramid. . . .”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Even his rivals loved him.<span style="mso-spacerun: yes;"> </span>“Caro Chopinette,” Liszt wrote to him, “I am
profiting by this occasion to repeat to you, even at the risk of seeming
monotonous, that my affection and admiration of you will ever remain the same.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“It is not well to listen a whole
evening to our Chopin,” said<a href="https://en.wikipedia.org/wiki/Delphine_de_Girardin" target="_blank"> Madame de Girardin</a>.<span style="mso-spacerun: yes;"> </span>“Existence is far from pleasing the day after
these feasts when a superior being has led you into the world of fairies and of
dreams.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span><a href="http://en.wikipedia.org/wiki/Ignaz_Moscheles" target="_blank">Moscheles</a>, in one of his letters, gave
an account of a soiree held in honor of Chopin and himself at the court.<span style="mso-spacerun: yes;"> </span>“Yesterday,” he writes, “was a day not to be
forgotten.<span style="mso-spacerun: yes;"> </span>At nine o-clock in the evening
Chopin and I were conducted to the <a href="http://en.wikipedia.org/wiki/Ch%C3%A2teau_de_Saint-Cloud" target="_blank">Chateau St. Cloud</a>.<span style="mso-spacerun: yes;"> </span>We walked through a number of rooms in the
palace till we came to the <i style="mso-bidi-font-style: normal;">salon carre</i>,
where the royal family were assembled.<span style="mso-spacerun: yes;">
</span>It was only a small gathering.<span style="mso-spacerun: yes;">
</span>Around a table were seated the Queen, the Duchesse d’Orleans, and the
maids of honor.<span style="mso-spacerun: yes;"> </span>Chopin, applauded and
admired as a favorite, played some <i style="mso-bidi-font-style: normal;">Etudes</i>
and <i style="mso-bidi-font-style: normal;">Nocturnes</i>. After I had performed
in my turn some <i style="mso-bidi-font-style: normal;">Etudes</i>, old and new,
meeting with like approval, we took places together at the piano.<span style="mso-spacerun: yes;"> </span>While we played a <i style="mso-bidi-font-style: normal;">Sonata for Four Hands</i>, the close attention of the little group was
not broken except by the words ‘delicious,’ ‘divine!’<span style="mso-spacerun: yes;"> </span>At the end of the <i style="mso-bidi-font-style: normal;">Andante</i> the Queen said softly to her maids of honor, ‘Would it be
inconsiderate to ask for a repetition of that number?’<span style="mso-spacerun: yes;"> </span>We began again, abandoning ourselves in the <i style="mso-bidi-font-style: normal;">Finale</i>, to the veritable delirium of
music.<span style="mso-spacerun: yes;"> </span>The passionate impetuosity of
Chopin seemed to electrify our audience, who praised us most
enthusiastically.<span style="mso-spacerun: yes;"> </span>Some days later the
King sent to Chopin a gilt cup and to me a traveling-case.<span style="mso-spacerun: yes;"> </span>Chopin always loved to joke, and he said to
me, “The King sent you a traveling-case so that he might the sooner be rid of
you.’”</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Bookman Old Style","serif";">The Artist</span></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>As a pianist, Chopin was unique.<span style="mso-spacerun: yes;"> </span>Moscheles, Mendelssohn, Meyebeer, Heller, all
pronounced him incomparable.<span style="mso-spacerun: yes;"> </span>Stephen
Heller and Mathias have often spoken to me of the power of his playing, of the <i style="mso-bidi-font-style: normal;">bravura</i>, of the extraordinary gradings
of tone.<span style="mso-spacerun: yes;"> </span><a href="https://en.wikipedia.org/wiki/Charles_Hall%C3%A9%20" target="_blank">Sir Charles Halle</a> said:<span style="mso-spacerun: yes;"> </span>“It was a marvel to hear that genius, to
watch his hands so supple, so aristocratic, moving over the keys.<span style="mso-spacerun: yes;"> </span>“Those who have heard Chopin,” so Mathias
declared, “can say that never since that time have they heard anything to
approach him.<span style="mso-spacerun: yes;"> </span>His playing was like his
music.<span style="mso-spacerun: yes;"> </span>And what virtuosity!<span style="mso-spacerun: yes;"> </span>What power!<span style="mso-spacerun: yes;">
</span>But it lasted only a few moments.<span style="mso-spacerun: yes;">
</span>Such exaltation, such inspiration!<span style="mso-spacerun: yes;">
</span>The whole man vibrated with it.<span style="mso-spacerun: yes;">
</span>The piano became intensely alive, so marvelously that one shivered.<span style="mso-spacerun: yes;"> </span>I repeat that the instrument which one heard
when he played never existed except under the fingers of Chopin.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“Liszt is a demon,” said <a href="http://en.wikipedia.org/wiki/Honor%C3%A9_de_Balzac" target="_blank">Balzac</a>, “and
Chopin is an angel.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>At the close of his life Chopin’s
playing had become very weak in tone; but he managed his effects with so much
art, so much skill, that he always achieved the same success.<span style="mso-spacerun: yes;"> </span>For his last concert in Paris he played his <i style="mso-bidi-font-style: normal;">Barcarolle</i>, so Sir Charles Halle has
told me, <i style="mso-bidi-font-style: normal;">pianissimo</i>, but with such
contract in nuancing that his lack of power was not felt.<span style="mso-spacerun: yes;"> </span>“And how he understood the pedals!<span style="mso-spacerun: yes;"> </span>It was unique.”</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s640/divider.jpg" width="640" /></a></div>
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<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">Enjoy
<a href="http://en.wikipedia.org/wiki/Krystian_Zimerman" target="_blank">Krystian Zimerman</a>’s performance of Chopin’s <i style="mso-bidi-font-style: normal;">“Barcarolle”</i>:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/KU-5u2dmXdM?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s640/divider.jpg" width="640" /></a></div>
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<span style="font-family: "Bookman Old Style","serif";">
</span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Bookman Old Style","serif";">The Social “Lion”</span></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Chopin was adored by the world of
society.<span style="mso-spacerun: yes;"> </span>At the home of <a href="http://en.wikipedia.org/wiki/Baron_Rothschild" target="_blank">Baron Rothschild</a>, or of <a href="http://en.wikipedia.org/wiki/Radziwi%C5%82%C5%82%20" target="_blank">Prince Radziwill</a>, of <a href="http://en.wikipedia.org/wiki/Apponyi" target="_blank">Count Apponyi</a>, or of the Marchioness de
Lanner, he was always surrounded by admirers.<span style="mso-spacerun: yes;">
</span>The moment he arrived the eager audience would begin asking, “Is he
going to play for us?”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Chopin was very particular about his
appearance.<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/Georges_Mathias" target="_blank">Mathias</a> used to say, “And
his polished half-boots?<span style="mso-spacerun: yes;"> </span>They were the
most shining I ever have seen.<span style="mso-spacerun: yes;"> </span>He had a
very small foot.<span style="mso-spacerun: yes;"> </span>And he always wore a
double-breasted coat, buttoned up to the highest button, and tailored in the
latest fashion.<span style="mso-spacerun: yes;"> </span>Every detail of his
dress was the most finished, the most elegant that could be imagined.”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Before me lies a letter from Eugene
Delacroix, the famous painter:</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Dear good Chopin:</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“The address of the shoemaker is 19
Roe Feydeen.<span style="mso-spacerun: yes;"> </span>Tell him exactly what shape
you wish the toe of your boot to be.<span style="mso-spacerun: yes;"> </span>He
is accustomed to making them round, like the English boots.<span style="mso-spacerun: yes;"> </span>Instruct him to make you some boots for
winter with very thick soles, but light weight.<span style="mso-spacerun: yes;">
</span>I love you as much as I admire you.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 11;"> </span>Delacroix”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>His life might have run smoothly,
perhaps, had it not been disturbed by the liaison with <a href="http://en.wikipedia.org/wiki/George_Sand" target="_blank">George Sand</a>.<span style="mso-spacerun: yes;"> </span>By what anomaly was this being, so
aristocratic, refined, fragile, brought into association with that vehement
woman, always inclined towards the plebeian; why was his destiny mingled with
hers?</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>But to what purpose do we try to
explain the unexplainable?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Bookman Old Style","serif";">Chopin the Teacher</span></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Mathias has described Chopin at his
lessons:<span style="mso-spacerun: yes;"> </span>“I remember them so well.<span style="mso-spacerun: yes;"> </span>His, ‘Very well my angel,’ when things went
well; and his hands grasping his hair when they went badly.<span style="mso-spacerun: yes;"> </span>‘Keep your elbow level with the keyboard,’ he
would say, ‘your hands straight, turning neither to right nor to left.’<span style="mso-spacerun: yes;"> </span>And how he would make you feel and understand
the masters. His words were as eloquent as his music.<span style="mso-spacerun: yes;"> </span>And yet he was a simple person, not a <i style="mso-bidi-font-style: normal;">literateur</i>, nor a critic after the
manner of Liszt and Berlioz.<span style="mso-spacerun: yes;"> </span>He did not care
for Schumann, nor even for Mendelssohn; he detested the paintings of his friend
Delacroix, and he was not at all interested in the literary movements of his
period. . . .”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Mademoiselle Gavard, to whom Chopin
dedicated the <i style="mso-bidi-font-style: normal;">Berceuse</i> (and, by the
way, she played this badly) I myself have known.<span style="mso-spacerun: yes;"> </span>She, too, was astonished that Chopin did not
understand Schuman and Schubert.<span style="mso-spacerun: yes;"> </span>But
<a href="http://en.wikipedia.org/wiki/Vincenzo_Bellini" target="_blank">Bellini</a> he adored!</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s640/divider.jpg" width="640" /></a><span style="font-family: "Bookman Old Style","serif";"> </span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">Enjoy
<a href="http://www.valentinalisitsa.com/" target="_blank">Valentina Lisitsa</a>’s performance of Chopin’s <i style="mso-bidi-font-style: normal;">“Berceuse”</i>:</span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/FZtBwlxL0Aw?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s640/divider.jpg" width="640" /></a></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>So it will be seen that I have known
several persons who knew Chopin.<span style="mso-spacerun: yes;"> </span>Often,
at the home of Mathias, <a href="http://en.wikipedia.org/wiki/Adam_Jerzy_Czartoryski" target="_blank">Prince Czartoryski</a> was at luncheon with us, an
aristocrat of the most exquisite courtesy, and a friend of Chopin.<span style="mso-spacerun: yes;"> </span>When I suggested to Mathias that he ought to
give a concert to make us understand the magic of Chopin’s playing, the prince
also insisted.<span style="mso-spacerun: yes;"> </span>But Mathias replied:<span style="mso-spacerun: yes;"> </span>“No one plays like Chopin.<span style="mso-spacerun: yes;"> </span>I am but a man; while Chopin is of the
essence of the fairylike.”<span style="mso-spacerun: yes;"> </span>At his home I
met also <a href="http://en.wikipedia.org/wiki/Erwin_Schulhoff%20" target="_blank">Schulhoff</a>, who was not very interesting.<span style="mso-spacerun: yes;"> </span>Madam Dubois O’Meara, very reserved.<span style="mso-spacerun: yes;"> </span>At the home of <a href="http://en.wikipedia.org/wiki/Camille_Saint-Sa%C3%ABns%20" target="_blank"><span style="mso-bidi-font-weight: bold;">Saint-Saëns</span></a></span><b> </b><span style="font-family: "Bookman Old Style","serif";">I
had the honor several times of meeting <a href="http://en.wikipedia.org/wiki/Pauline_Viardot" target="_blank">Madame Pauline Viardot</a>, who in a few
words could conjure up the very spirit of Chopin; and it was a joy to hear <span style="mso-bidi-font-weight: bold;">Saint-Saëns</span> and Viardot exchange
reminiscences.<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/Antoine_Fran%C3%A7ois_Marmontel" target="_blank">Marmontel</a>, eminent
professor at the <a href="http://www.conservatoiredeparis.fr/" target="_blank">Paris Conservatoire</a>, I know very well.<span style="mso-spacerun: yes;"> </span>Several times I saw <a href="http://en.wikipedia.org/wiki/Henri_Herz%20" target="_blank">Henri Herz</a>, the
celebrated pianist, a delightful old man, whose mind was stored with vivid and
interesting recollections.<span style="mso-spacerun: yes;"> </span>Both of these
latter were friends of Chopin.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>There was also <a href="http://en.wikipedia.org/wiki/Charles-Valentin_Alkan" target="_blank">Alkan</a>, the great but
now forgotten artist, whom I had the honor of seeing and hearing often.<span style="mso-spacerun: yes;"> </span>He adored Chopin, and I regret deeply that I
did not write down all that he told me of the great genius.<span style="mso-spacerun: yes;"> </span>A letter from Alkan to Chopin, dated 1836,
runs thus:<span style="mso-spacerun: yes;"> </span>“I am going to trouble you,
dear Chopin, for I am about to make a request which will cost you something to
grant and will also cost you something to refuse.<span style="mso-spacerun: yes;"> </span>Nevertheless I cannot resist speaking of
it.<span style="mso-spacerun: yes;"> </span>It is, would you be willing to play
with me, with two pianos, at Erar’s?<span style="mso-spacerun: yes;"> </span>If
you do not consent, please do not even write to excuse yourself.<span style="mso-spacerun: yes;"> </span>Always the same, Alkan.”<span style="mso-spacerun: yes;"> </span>There were no excuses made; and the concert
took place on the first day of March, 1836.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Bookman Old Style","serif";">And the Pianist</span></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Chopin’s attitude at the piano was a
marvel of calmness and nobility, a contrast to that of Liszt, which was
extraordinary.<span style="mso-spacerun: yes;"> </span>He lifted his head as if
inspired, raised his eyes toward heaven as if seeking for the stars in
space.<span style="mso-spacerun: yes;"> </span>At other times he would lean over
toward the keys, or again, seem about to depart, like a spirit, from his seat
at the piano.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Chopin’s contemporaries felt and
showed toward him the greatest of deference.<span style="mso-spacerun: yes;">
</span>Meyerbeer once wrote to him:</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Bookman Old Style","serif";">“Dear
and illustrious Master, </span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>I regret extremely that you did not
find me at home, when you did me the honor of wishing to see me.<span style="mso-spacerun: yes;"> </span>Today I am writing to pray you to grant me a
favor.<span style="mso-spacerun: yes;"> </span>There is a young Italian girl,
eight years old, Mademoiselle Merli, who is blind, and a pianist.<span style="mso-spacerun: yes;"> </span>But in my opinion she is a real prodigy of
talent and genius.<span style="mso-spacerun: yes;"> </span>Can you, will you hear
her?<span style="mso-spacerun: yes;"> </span>I thank you.</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Believe me, with all my affection,
your devoted,</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 10;"> </span>Meyerbeer.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Among all the many works of Chopin
there is not one which, during a century, has grown old.<span style="mso-spacerun: yes;"> </span>From his very first works one sees in him the
genius emerging, developing, expanding.<span style="mso-spacerun: yes;">
</span>Here is a personality which is stronger than methods and rules. Shedding
light around, it breaks through the limits of conventions and of worn-out
technical theories, and, rising above them, leads us a step higher into
absolute beauty.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>We can apply to Chopin what Balzac
said of music:<span style="mso-spacerun: yes;"> </span>“It is a language a
thousand times more rich than words.<span style="mso-spacerun: yes;"> </span>The
other arts impose on the mind creations which are definite; music is infinite
in hers.<span style="mso-spacerun: yes;"> </span>Each soul can interpret music
in terms of its own grief or joy, its own hope or despair.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Bookman Old Style","serif";">Again the Teacher</span></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>To return to Chopin as a professor;
Chopin insisted on training the hand in stretching, but without fatigue.<span style="mso-spacerun: yes;"> </span>He laid much stress on passing under the
thumb, in scales and arpeggios.<span style="mso-spacerun: yes;"> </span>These
were to be practiced at first very slowly, and then gradually accelerated.<span style="mso-spacerun: yes;"> </span>He taught first the scales with the black
keys, and last of all the scale of C, the most difficult.<span style="mso-spacerun: yes;"> </span>He desired absolute suppleness of the arm
combined with firmness of the fingers.<span style="mso-spacerun: yes;"> </span>He
advised the use of the “Preludes” and “Exercises” of <a href="http://en.wikipedia.org/wiki/Muzio_Clementi" target="_blank">Clementi</a>, the “Etudes” of
<a href="http://en.wikipedia.org/wiki/Johann_Baptist_Cramer" target="_blank">Cramer</a>, the “<a href="http://conquest.imslp.info/files/imglnks/usimg/9/97/IMSLP105471-PMLP06606-Clementi_-_Gradus_ad_Parnassum__ed.Peters_.pdf%20" target="_blank">Gradus ad Parnassum</a>” of Clementi, “The Well Tempered Clavichord”
of Bach, and finally some “Etudes” of Moscheles.<span style="mso-spacerun: yes;"> </span>Occasionally, for the study of sonority, he
added the “Nocturnes” of Field, and his own.<span style="mso-spacerun: yes;">
</span>Fingering, he considered highly important.<span style="mso-spacerun: yes;"> </span>He did not hesitate to place the thumb on the
black keys.<span style="mso-spacerun: yes;"> </span>He broke rules of fingering,
authorized all sorts of liberties, and developed the technic of the piano to a
perfection equaling that of Liszt, if not surpassing it.<span style="mso-spacerun: yes;"> </span>He required strict rhythm; he detested all
mannerism and exaggerated <i style="mso-bidi-font-style: normal;">rubato</i>.<span style="mso-spacerun: yes;"> </span>What is the <i style="mso-bidi-font-style: normal;">rubato</i> of Chopin?<span style="mso-spacerun: yes;"> </span>It is a
nuance of movement:<span style="mso-spacerun: yes;"> </span>there is in it
anticipation and holding back, restlessness and repose, agitation and
calm.<span style="mso-spacerun: yes;"> </span>But this <i style="mso-bidi-font-style: normal;">rubato</i> must be used with the utmost moderation, else it becomes
unendurable, as if one looked into a concave or a convex mirror which gives
back an image deformed, grimacing.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Bookman Old Style","serif";">A Musical Form Glorified</span></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The <i style="mso-bidi-font-style: normal;">Nocturne</i> was originally a short, slow piece, delicate in style,
elegiac or sentimental.<span style="mso-spacerun: yes;"> </span>It is to <a href="http://en.wikipedia.org/wiki/John_Field_%28composer%29" target="_blank">John Field</a> that the musical art owes this form.<span style="mso-spacerun: yes;">
</span>But Mozart already had written his <a href="http://en.wikipedia.org/wiki/Eine_kleine_Nachtmusik%20" target="_blank"><i style="mso-bidi-font-style: normal;">Eine Kleine Nachtmusik</i></a> and Mendelssohn the <a href="http://www.youtube.com/watch?v=uD3b4lQr4KA%20" target="_blank">Nocturne to “Midsummer Night’s Dream.”</a><span style="mso-spacerun: yes;"> </span>The <a href="http://www.youtube.com/watch?v=_88SiwtWzc8" target="_blank"><i style="mso-bidi-font-style: normal;">Nachtstucke</i></a>
of Schumann and <a href="http://www.youtube.com/watch?v=Y-cPrIePZO4" target="_blank"><i style="mso-bidi-font-style: normal;">Des Abends</i></a> of the
“Fantasiastucke, Op. 12”, are also nocturnes transposed into German!<span style="mso-spacerun: yes;"> </span>But it was Chopin who was to ennoble this
title.<span style="mso-spacerun: yes;"> </span>There is nothing more perfect in
the works of this unequalled genius.<span style="mso-spacerun: yes;">
</span>These pages contain hitherto unheard of musical riches:<span style="mso-spacerun: yes;"> </span>here are tenderness and charm; grief, even to
sobbing; caresses, heroism—in fact the whole gamut of feeling.<span style="mso-spacerun: yes;"> </span>Chopin has all strings to his lyre, and he
has made them all sing with an intensity of emotion which is matchless.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>To gain some idea of the variety of
his genius, it is enough to glance through his series of nocturnes.<span style="mso-spacerun: yes;"> </span>In them vibrate all the ardor of his
passionate being, all the joys and all the sorrows of this heart exalted or
cast down.<span style="mso-spacerun: yes;"> </span>It is his exceptional power
to express emotion which makes the music of Chopin so human that it seems to
each individual the song of his own heart.<span style="mso-spacerun: yes;">
</span>The touching beauty of his works arises from their absolute sincerity
and spontaneity.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“Chopin,” said Liszt, “had a
temperament of extreme nervousness; yet one could not help loving him.<span style="mso-spacerun: yes;"> </span>He knew how to restrain himself, but without
being able to control himself completely; and he drilled himself every morning
in conquering his passions, his hatreds, his anger, his love, his grief, his
impetuosity.<span style="mso-spacerun: yes;"> </span>Did he know <a href="http://en.wikipedia.org/wiki/Edward_Young" target="_blank">Young’s</a> <a href="http://www.gutenberg.org/ebooks/33156" target="_blank">“Night Thoughts”</a>?<span style="mso-spacerun: yes;"> </span>Had he been inspired by
them?<span style="mso-spacerun: yes;"> </span>One could almost believe it, in
reading some of his nocturnes.”</span></div>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Bookman Old Style","serif";">A Master Work Dissected</span></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span><a href="http://javanese.imslp.info/files/imglnks/usimg/7/7b/IMSLP114000-PMLP02306-FChopin_Nocturnes__Op.32_BH4.pdf%20" target="_blank">The Nocturne, Op. 32, No. 2</a>, in
A-flat major, should be played with simplicity, with expression, without <i style="mso-bidi-font-style: normal;">any</i> exaggeration, and with the nuances
carefully observed.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>At first the left hand must be
practiced alone.<span style="mso-spacerun: yes;"> </span>But to play it as
written is not enough, if one would master it.<span style="mso-spacerun: yes;">
</span>I would advise the following analysis of it:</span></div>
<div class="MsoNormal">
<br /></div>
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<br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">with
the exception of Measure 7 and similar measures:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8R8K9CsNCc4oJDr2AcNEjK-r2_GYDXdDIjNhJ4tl6WKhDB_5unz_MXZmql5ymBJj_3tCb7mzLop5x9ZUCB49GLWHq2XLZbR8fb_5ircQFifNpSol-5NcgVL3FMi2leFcL0XNeA9E3INVD/s1600/1940januarychopinex2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8R8K9CsNCc4oJDr2AcNEjK-r2_GYDXdDIjNhJ4tl6WKhDB_5unz_MXZmql5ymBJj_3tCb7mzLop5x9ZUCB49GLWHq2XLZbR8fb_5ircQFifNpSol-5NcgVL3FMi2leFcL0XNeA9E3INVD/s400/1940januarychopinex2.jpg" width="400" /></a></div>
<br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>In the middle section, measures 27 and
50, the two hands should first be practiced separately and slowly, <i style="mso-bidi-font-style: normal;">portamento</i>, and then very <i style="mso-bidi-font-style: normal;">legato</i>, but never <i style="mso-bidi-font-style: normal;">forte</i>.<span style="mso-spacerun: yes;"> </span>Measures 37, and 38,
49 and 50, may be studied thus: </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1x1h5EYBwWnungLRXULUZYFtcMzbc3TGrPtRXk9zSWXXwuIoMq7_FbRaDhZjmlFLfa6c6qxCvrhP3DyqxyJLMPxHVJNjYrYbQw0sucv3tT7yzmvSb9ExVfAn3-SCju4bc2XmtZtcNizND/s1600/1940januarychopinex3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1x1h5EYBwWnungLRXULUZYFtcMzbc3TGrPtRXk9zSWXXwuIoMq7_FbRaDhZjmlFLfa6c6qxCvrhP3DyqxyJLMPxHVJNjYrYbQw0sucv3tT7yzmvSb9ExVfAn3-SCju4bc2XmtZtcNizND/s400/1940januarychopinex3.jpg" width="400" /></a></div>
<br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The pedal must be used with great
care.<span style="mso-spacerun: yes;"> </span>A pianist must always play
clearly, and the pedal, used incorrectly or too often, blots out all outlines
and all accents.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>With regard to style, measures 1 and 2
should be played slowly and softly like an improvisation.<span style="mso-spacerun: yes;"> </span>The true theme does not begin till the third
measure.<span style="mso-spacerun: yes;"> </span>The group of notes in Measure 5
must be simple and without emphasis, and likewise the group of seven notes in
the sixth measure, which should be divided thus:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghUY1RLvRxbG02AZr_5TgFdtvhKrDEruzRHcmu-b695JgtP89WsJG0CcOayYIp-VK8pQa4mM5BBfgXFDdWHvPF5q7q_jpvdn9j12n52aT1zx54uoV6PYW4hzB5gFdlHQRakJfIAxAxEV_E/s1600/1940januarychopinex4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="98" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghUY1RLvRxbG02AZr_5TgFdtvhKrDEruzRHcmu-b695JgtP89WsJG0CcOayYIp-VK8pQa4mM5BBfgXFDdWHvPF5q7q_jpvdn9j12n52aT1zx54uoV6PYW4hzB5gFdlHQRakJfIAxAxEV_E/s400/1940januarychopinex4.jpg" width="400" /></a></div>
<br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The trill in Measure 8 must not seem
hurried.<span style="mso-spacerun: yes;"> </span>Measure 9 demands special work
for tonal effects:<span style="mso-spacerun: yes;"> </span>the five notes at the
beginning must be played expressively and <i style="mso-bidi-font-style: normal;">mf</i>;<span style="mso-spacerun: yes;"> </span>the last C of this group and the first C of
the next beat must be played elastically and as if they were two notes of a
triplet group, as:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj24PDIMzqgF2GCG3bQnuqqE19YDh0XvbPcPUszMiUK3LnxBbh-zgvnCad46abLDRkIPCEOF5r9uSA6IjmuHP1f1RjWAOgGL1r-8favYH9uXRyjK9Cz14ETOjLs0-mQU1VQYVNNb5IIwPjR/s1600/1940januarychopinex5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="102" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj24PDIMzqgF2GCG3bQnuqqE19YDh0XvbPcPUszMiUK3LnxBbh-zgvnCad46abLDRkIPCEOF5r9uSA6IjmuHP1f1RjWAOgGL1r-8favYH9uXRyjK9Cz14ETOjLs0-mQU1VQYVNNb5IIwPjR/s400/1940januarychopinex5.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">The
close of the measure must be played <i style="mso-bidi-font-style: normal;">diminuendo</i>,
and with sensitiveness, but with no exaggeration of feeling.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>In measures 11, 12 and 13 the bass
should be sustained without the help of the pedal, except where the pedal is
marked.<span style="mso-spacerun: yes;"> </span>The passages in small notes,
from Measure 14 up to the section in twelve-eight rhythm, must be done without
hurrying.<span style="mso-spacerun: yes;"> </span>The <i style="mso-bidi-font-style: normal;">agitato</i>, which follows, is to be expressive yet with care in the
nuances which are marked.<span style="mso-spacerun: yes;"> </span>But, I would
repeat, one must guard against committing the great fault which is so common
with interpreters of Chopin:<span style="mso-spacerun: yes;"> </span>Do not,
then, exaggerate the feeling; do not change the movement; for these alterations
will add nothing to expression which is true and sincere.<span style="mso-spacerun: yes;"> </span>The marks for the nuances must be followed
precisely; the basses must be sustained with care; there must be a light,
expressive accent on certain notes of the left hand, as in Measure 30:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjooITLt0ZLNeC3UNwKuW5NEodbPtx7wcJ21GzR8VTOO2Sf5VtZ6u3HFaAVyQYY2VeejQ1rYrZCJ-YxKfx04xx1_L4qSZnKdom7qAg727Ubq97VOGSGnG9GjZoBGG7WCS_FREi_6UykdE/s1600/1940januarychopinex6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjooITLt0ZLNeC3UNwKuW5NEodbPtx7wcJ21GzR8VTOO2Sf5VtZ6u3HFaAVyQYY2VeejQ1rYrZCJ-YxKfx04xx1_L4qSZnKdom7qAg727Ubq97VOGSGnG9GjZoBGG7WCS_FREi_6UykdE/s400/1940januarychopinex6.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">These
five notes—E flat, F, E-flat, D-natural, D-flat—must be brought out, with a
velvety quality of tone.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>From Measure 36 to Measure 39 the
expression is increasingly dramatic, and the <i style="mso-bidi-font-style: normal;">crescendo</i> in these three measures leads to a <i style="mso-bidi-font-style: normal;">forte</i> in 39, and from there to a <i style="mso-bidi-font-style: normal;">fortissimo</i> in 43.<span style="mso-spacerun: yes;"> </span>Here the
pace becomes faster.<span style="mso-spacerun: yes;"> </span>The passionate
feeling reaches its climax at the <i style="mso-bidi-font-style: normal;">reprise</i>
of the expressive theme of the <i style="mso-bidi-font-style: normal;">Nocturne</i>;
and this, instead of being interpreted like the intimate <i style="mso-bidi-font-style: normal;">dolce</i> of its original statement, must be <i style="mso-bidi-font-style: normal;">appassionata e forte</i>.<span style="mso-spacerun: yes;">
</span>Gradually the excitement subsides at Measure 56, and we return to the
melancholy of the beginning.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>In the <i style="mso-bidi-font-style: normal;">finale</i>—Measure 63 to the end—the first five notes of the right hand
must be delicately marked, with an exquisite combination of rhythm and abandon;
the trill of Measure 64 must be executed without haste; and the whole must
close poetically, as it breathes away mysteriously.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>One more word of advice to
performers.<span style="mso-spacerun: yes;"> </span>The first duty of a virtuoso
is to impart confidence to the audience.<span style="mso-spacerun: yes;">
</span>An accident does not matter, if it is merely an accident.<span style="mso-spacerun: yes;"> </span>But if, through nervousness, one becomes
insecure, or shows fear of an accident, the audience also becomes uneasy and
does not listen attentively.<span style="mso-spacerun: yes;"> </span>If the tone
becomes uneven; if the lines of the melody are not clear and distinct; if the
listener does not follow the text as calmly as if he were reading it, he will
no longer listen.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Remember the thought of Leonardo da
Vinci:<span style="mso-spacerun: yes;"> </span>“Study without enthusiasm ruins
the memory; for the latter does not then retain what it takes in.”</span></div>
<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal">
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<![endif]--><span style="font-family: "Bookman Old Style","serif";">Enjoy <a href="http://en.wikipedia.org/wiki/Philippe_Giusiano" target="_blank">Philippe Giusiano's</a> performance of Chopin’s <i style="mso-bidi-font-style: normal;">Nocturne
in A-flat major, Op. 32, No. 2</i>:</span></div>
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<span style="font-family: "Bookman Old Style","serif";"> </span> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s1600/divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZIuZN5toHntgalXptKEcS0-X64CZwlzqHZStpn7cWFULQ75EYmdmiMIDtINjsPEDZ34JO5PAh6799X7LmB0cjw4JcEwLli8bonmjZ36eqiNuI8-hu7_lTtLZu-MrOVAkMhbb_w1lAgOu/s640/divider.jpg" width="640" /></a> </div>
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<span style="font-family: "Bookman Old Style","serif";"> </span>THE ETUDE MUSIC MAGAZINE – January 1940 </div>
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-62484572015311011792013-06-03T10:48:00.002-07:002013-06-03T10:48:41.365-07:00Effect of ProhibitionThe enforcing of the war prohibition law has thrown many violinists out of work. Especially is this the case in large hotels, where orchestras or a company of entertainers were invariably maintained in the grill rooms. Since intoxicating drinks cannot now be served in such places, the hotel proprietors have dispensed with the music. A great many female violinists and 'cellists made their living playing in these grill rooms, earning from $25 to $50 a week. They will now have to look for other engagements.<br />
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THE ETUDE MUSIC MAGAZINE – May 1920
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-49922949173544138632013-06-01T16:55:00.001-07:002013-06-01T16:57:18.831-07:00Mozart Composed In His Head<div class="separator" style="clear: both; text-align: center;">
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THE ETUDE MUSIC MAGAZINE – January 1936 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-13576632519593537542013-06-01T16:53:00.001-07:002013-06-01T16:53:50.048-07:00January 1936<div class="separator" style="clear: both; text-align: center;">
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THE ETUDE MUSIC MAGAZINE – January 1936 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-19050452785818667622013-05-31T16:51:00.002-07:002013-05-31T16:51:30.530-07:00Tender Remembrance"Tender Remembrance" by M. L. Preston:<br />
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THE ETUDE MUSIC MAGAZINE – September 1921 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com4tag:blogger.com,1999:blog-8046327800869806948.post-4652040392324012902013-05-30T18:51:00.000-07:002013-05-30T18:51:17.191-07:00The Singer's Art<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJBKHyuOsNpx422W5yjiPokKVuA9ucbJ2dKBpTfVxnzC557vqJFL_0p73J678KVT7oK-dN4RLO3AnRJvijSCC3YaKmO5CDprjyg3U4yJgqCMNbmekdP5HhoA01eOQBqpjMsIS96-ORCe7B/s1600/ETUDE1936JanuaryFeodor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJBKHyuOsNpx422W5yjiPokKVuA9ucbJ2dKBpTfVxnzC557vqJFL_0p73J678KVT7oK-dN4RLO3AnRJvijSCC3YaKmO5CDprjyg3U4yJgqCMNbmekdP5HhoA01eOQBqpjMsIS96-ORCe7B/s400/ETUDE1936JanuaryFeodor.jpg" width="292" /><span id="goog_946313593"></span><span id="goog_946313594"></span></a></div>
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" /><br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">It
seems that the greatest difficulty confronting the young singer of today is
arriving at a clear perception of what the art of singing really means.<span style="mso-spacerun: yes;"> </span>For centuries a great deal of wrong thinking
and misplaced energy have been devoted to this matter of singing.<span style="mso-spacerun: yes;"> </span>Some celebrated musician once uttered an
axiom which sums up the altogether mistaken viewpoint under which we are still
laboring.<span style="mso-spacerun: yes;"> </span>The witticism is usually
credited to <a href="http://en.wikipedia.org/wiki/Gioachino_Rossini" target="_blank">Rossini</a>; although, in view of the intelligence of his other
statements, this does not seem entirely probable.<span style="mso-spacerun: yes;"> </span>At any rate he is supposed to have said,
“There are three fundamental requisites which the singer needs:<span style="mso-spacerun: yes;"> </span>First, voice; second, <i style="mso-bidi-font-style: normal;">voice</i>; and third, VOICE.”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Now in this is the source of many of
our troubles!<span style="mso-spacerun: yes;"> </span>A statement like that
caught the popular imagination, as “clever” remarks have a habit of doing, and
had the unfortunate result of confusing singers, critics, and public
alike.<span style="mso-spacerun: yes;"> </span>It caused them to overemphasize
the physical aspects of the voice alone and to shove into second place all
those other vital considerations without which singing becomes merely a
colorless, meaningless vocal accident.</span></div>
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<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "Bookman Old Style","serif";">Enjoy
a recording (date unknown) of <a href="http://en.wikipedia.org/wiki/Feodor_Chaliapin" target="_blank">Feodor Chaliapin</a> performing “Le veau d’or”
from <a href="http://en.wikipedia.org/wiki/Charles_Gounod" target="_blank">Charles Gounod’s</a> <i><a href="http://en.wikipedia.org/wiki/Faust_%28opera%29" target="_blank">Faust</a>:</i></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/KyxdCUine3Y?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSID_94BXXC6tLiBdhxPHgrL4j_4XRsZb5sRjR7z2I5ngTk0fOBPlBO_MlXm0R-V9nPtXQL3qDGWFx2FcQsGsslcBmVH-bp1hB3irL9PJurqQbXfhAnIBQdCM_7F7HK5yifTDXh1vNaB2H/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSID_94BXXC6tLiBdhxPHgrL4j_4XRsZb5sRjR7z2I5ngTk0fOBPlBO_MlXm0R-V9nPtXQL3qDGWFx2FcQsGsslcBmVH-bp1hB3irL9PJurqQbXfhAnIBQdCM_7F7HK5yifTDXh1vNaB2H/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "Bookman Old Style","serif";"><i> </i></span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "Bookman Old Style","serif";">The Full
Equipment</span></i></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"></span>Forget, for a moment, that you are a
student with something to learn, and imagine yourself a passive auditor at some
musical performance.<span style="mso-spacerun: yes;"> </span>You have come to be
stimulated, to be lifted to a higher plane of living than the one on which you
entered the hall.<span style="mso-spacerun: yes;"> </span>What are the elements
of the artist’s performance which will give you this spiritual lift?<span style="mso-spacerun: yes;"> </span>Voice alone?<span style="mso-spacerun: yes;">
</span>Never!<span style="mso-spacerun: yes;"> </span>Certainly, a fine voice
will stir you.<span style="mso-spacerun: yes;"> </span>You will be enthralled by
its sheer physical beauty—for a while.<span style="mso-spacerun: yes;">
</span>But after that, if the evening offers you nothing more than the
outpourings of a well built throat; if it offers you no imagination, no human
sympathy, no answer to some need of your own, you are unsatisfied.<span style="mso-spacerun: yes;"> </span>Your mind wanders to other things, and you
become bored.<span style="mso-spacerun: yes;"> </span>Now, boredom in a listener
means lack of art in a performer.<span style="mso-spacerun: yes;"> </span>And
thus, from your own experience, you will agree that <i style="mso-bidi-font-style: normal;">voice alone</i> is not enough!<span style="mso-spacerun: yes;">
</span>Voice is an accident, a gift from God.<span style="mso-spacerun: yes;">
</span>It is not art.<span style="mso-spacerun: yes;"> </span>To sing well, to
hold listeners spellbound, requires a great deal more than mere voice.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>This has been learned through hard
experience, but experience which, for all its buffetings and difficulties, I
would not exchange for the softer, easier method of learning out of a
textbook.<span style="mso-spacerun: yes;"> </span>I have been on the stage for
forty-five years.<span style="mso-spacerun: yes;"> </span>My “professional” life
began as an apprentice to a cobbler, in my native <a href="http://en.wikipedia.org/wiki/Kazan" target="_blank">Kazan, Russia</a>.<span style="mso-spacerun: yes;"> </span>When I began to sing, I, too, had the
mistaken idea that voice is everything.<span style="mso-spacerun: yes;">
</span>No one corrected me, and so I had to learn better by the hard knocks of
experience.<span style="mso-spacerun: yes;"> </span>I got my training by doing
pretty much everything there is to be done on the stage.<span style="mso-spacerun: yes;"> </span>I have acted without music; I have declaimed
recitations; I have sung in choruses, in operetta; and so my promotion into
concert and opera was earned.<span style="mso-spacerun: yes;"> </span>Whatever
position I found myself in, though, I tried to observe, to learn from both good
and bad examples in the work of others, and, most of all, to relate my work in
some way to life itself.<span style="mso-spacerun: yes;"> </span>Such are the means
by which I learned that voice alone is not enough to make a singer.<span style="mso-spacerun: yes;"> </span>An unusual voice may, perhaps, make a
“star”—never an artist.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>On the other hand, I do not wish to
give the impression that a singer’s voice is an incidental element.<span style="mso-spacerun: yes;"> </span>Far from it! <span style="mso-spacerun: yes;"> </span>It is the very foundation of his future work,
and must be carefully trained.<span style="mso-spacerun: yes;"> </span>This
training, however, is too individual a matter for me to venture any general or
categoric advice.<span style="mso-spacerun: yes;"> </span>Every throat is built
differently, and every singer must find his own best means of development.<span style="mso-spacerun: yes;"> </span>In my own beginner’s days, I studied with a
teacher who was considered excellent and who did much for me in cultivating my
taste and perceptions.<span style="mso-spacerun: yes;"> </span>But his vocal
methods were conceived according to his own “system” and not very well adapted
to <i style="mso-bidi-font-style: normal;">my</i> throat!<span style="mso-spacerun: yes;"> </span>After a while, I found I could not sing
comfortably at all!<span style="mso-spacerun: yes;"> </span>So I went back to m
own natural methods, which I had used almost unconsciously when my voice first
asserted itself; and thus I regained my ease.<span style="mso-spacerun: yes;">
</span>I do not think that that teacher’s methods were <i style="mso-bidi-font-style: normal;">bad</i>; they were simply bad <i style="mso-bidi-font-style: normal;">for
me</i>.<span style="mso-spacerun: yes;"> </span>Since then, I have been very careful
to watch for my own vocal needs, and equally careful about prescribing for the
needs of others!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i><span style="font-family: "Bookman Old Style","serif";">The Safe Method</span></i></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">I can
safely say, however, that the best singing method is the one that feels easiest
and most natural.<span style="mso-spacerun: yes;"> </span>The moment that
continued singing feels fatiguing to the throat, wrong methods have been
used.<span style="mso-spacerun: yes;"> </span>One singer may make greater use of
masked resonance; another may counsel “relaxation”; and that is what I mean by
treating every voice individually.<span style="mso-spacerun: yes;"> </span>But,
regardless of method, the throat should always feel open, free and
comfortable.<span style="mso-spacerun: yes;"> </span>The result is always the
same, and the only test is the individual feeling of the thing.<span style="mso-spacerun: yes;"> </span>Never force the voice.<span style="mso-spacerun: yes;"> </span>Never sing so loudly that you feel a drawing
upon your last resources.<span style="mso-spacerun: yes;"> </span>Always keep a
fund of reserve power.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Another point in voice care, which
should receive great emphasis, is the entire manner in which the singer
lives.<span style="mso-spacerun: yes;"> </span>The voice, after all, is part of
the physical organism and, as such, reflects all the ups and downs of bodily
well-being.<span style="mso-spacerun: yes;"> </span>The singer who wishes to
conserve his best vocal form, should live a very simple, moderate life in all
respects.<span style="mso-spacerun: yes;"> </span>He must avoid excesses, of
food, drink, tobacco, or pleasure.<span style="mso-spacerun: yes;"> </span>He
must learn to say “No.”<span style="mso-spacerun: yes;"> </span>He must let
nothing interfere with his regular hours of rest; and, at some time during the
years, he should take a period of complete relaxation, so that the body, on
which the voice depends, may become strengthened, or reborn.<span style="mso-spacerun: yes;"> </span>He should lie on his back in the sunshine,
listen to the hum of the insects, and watch the shadow play of the clouds
above.<span style="mso-spacerun: yes;"> </span>Thus he will grow strong, calm,
and toned up.<span style="mso-spacerun: yes;"> </span>I feel myself physically
and vocally vigorous, after forty-five years on the stage; and I believe that a
simple and regular life has helped to keep me so.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i><span style="font-family: "Bookman Old Style","serif";">But One of Many</span></i></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">Still,
the voice is only one of a number of important elements in a singer’s
career.<span style="mso-spacerun: yes;"> </span>Indeed, it is only after the
voice is so well trained, so pliable, so easy that tone production has become
second nature that one is ready to begin artistic work!<span style="mso-spacerun: yes;"> </span>When <a href="http://en.wikipedia.org/wiki/Tsar_Boris_%28drama%29" target="_blank"><i style="mso-bidi-font-style: normal;">Tsar Boris</i></a> is seen moving majestically across the stage, the young artist is not
conscious that he had to spend months—possibly years—in learning to walk that
way; that at one time, he even had to learn the very beginnings of
walking!<span style="mso-spacerun: yes;"> </span>Neither is he conscious of all
that.<span style="mso-spacerun: yes;"> </span>It should be exactly the same with
the voice.<span style="mso-spacerun: yes;"> </span>While the singer is still
feeling for his tones, while he still has to indulge in conscious concentration
on producing a good B or B-flat, he is not ready for full stage work.<span style="mso-spacerun: yes;"> </span>The actor who walks with clumsy
self-consciousness, or the singer who sings self-consciously, gives but poor
effects.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>It is possible for a young man to be a
great artist, but it is extremely difficult!<span style="mso-spacerun: yes;">
</span>One’s younger years are taken up in learning the mechanical technic upon
which art must be built.<span style="mso-spacerun: yes;"> </span>There must be
the learning to use the voice, to gesture, to walk; there must be the learning
of the values of different historical epochs—how the people of various lands
and ages looked, how they dressed, how they thought and felt.<span style="mso-spacerun: yes;"> </span>One must learn what to do with his arms and
legs, how to handle a sword, a goblet or a rose.<span style="mso-spacerun: yes;"> </span>Each thing must be learned separately, and
none of them has the least meaning until they are all fused together with such
complete technical mastery that one is conscious, not at all of his actions,
but only of the human, emotional effect he wishes to project through those actions.<span style="mso-spacerun: yes;"> </span>Precisely there is where art begins!</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The young singer should cultivate the
habit of acute observation.<span style="mso-spacerun: yes;"> </span>That is his
greatest means of learning.<span style="mso-spacerun: yes;"> </span>What his
teacher tells him is good.<span style="mso-spacerun: yes;"> </span>What he finds
out for himself, through personal experience and application, is better.<span style="mso-spacerun: yes;"> </span>Suppose he wishes to portray a king on the
stage—<a href="http://en.wikipedia.org/wiki/Philip_II_of_Spain" target="_blank">Philip II of Spain</a>, let us say.<span style="mso-spacerun: yes;">
</span>How will he go about it?<span style="mso-spacerun: yes;"> </span>In his
mind there is great ardor and a vague idea; somewhere in the world, there is a
definite conception of what Philip II should be like.<span style="mso-spacerun: yes;"> </span>How will the young artist connect the
two?<span style="mso-spacerun: yes;"> </span>Of course, he will read and consult
with his teacher or coach.<span style="mso-spacerun: yes;"> </span>But that is
simply passive work!<span style="mso-spacerun: yes;"> </span>It means that
intellectual ideas are merely reaching him from the outside.<span style="mso-spacerun: yes;"> </span>Next—he will try to get into some theater
where his king is being performed on the stage.<span style="mso-spacerun: yes;">
</span>At once the active element enters into his preparations.<span style="mso-spacerun: yes;"> </span>He sees a flesh-and-blood personage before
him.<span style="mso-spacerun: yes;"> </span>It is no longer intellectualism, it
is life!<span style="mso-spacerun: yes;"> </span>Then he begins work.<span style="mso-spacerun: yes;"> </span>He observes every least action his king
makes.<span style="mso-spacerun: yes;"> </span>He studies how he dresses, how he
conducts himself.<span style="mso-spacerun: yes;"> </span>He leaves the theater
with a vague idea supplanted by a living picture.<span style="mso-spacerun: yes;"> </span>Then he begins all over again, by himself, to
re-construct what he saw.<span style="mso-spacerun: yes;"> </span>He tries to
remember all the things that were so clearly before him.<span style="mso-spacerun: yes;"> </span>And finally, out of the effort of his own
mental reconstruction, he begins to build up a Philip II of his own!<span style="mso-spacerun: yes;"> </span>He imitates, he discards, he adds, he
recreates the personage; and that character becomes a part of him—or, is it the
other way round?<span style="mso-spacerun: yes;"> </span>Only by such means does
he really learn.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i><span style="font-family: "Bookman Old Style","serif";">A Study of Life</span></i></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">I
believe firmly in teaching (and learning) by example.<span style="mso-spacerun: yes;"> </span>Maxims and methods are only half
effective.<span style="mso-spacerun: yes;"> </span>One learns algebra out of a
textbook, but not an art which means the reconstruction of life.<span style="mso-spacerun: yes;"> </span>Only by living can one learn to live.<span style="mso-spacerun: yes;"> </span>Only by doing can one learn to do.<span style="mso-spacerun: yes;"> </span>A good teacher should be able to offer his
pupils not merely advice but also striking examples of what must be
avoided.<span style="mso-spacerun: yes;"> </span>The pupil, for his part, should
learn to watch for models—on the stage, in life, everywhere—for that he can
copy and that he must shun.<span style="mso-spacerun: yes;"> </span>He can learn
a great deal from a thoroughly bad performance.<span style="mso-spacerun: yes;">
</span>It shows him with faithful exactness all that he must never, never do!</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "Bookman Old Style","serif";">And,
along with his power to observe, the student should cultivate a wholesome
respect for his art.<span style="mso-spacerun: yes;"> </span>Let nothing that
touches his work be casual or haphazard.<span style="mso-spacerun: yes;">
</span>Let nothing be “good enough.”<span style="mso-spacerun: yes;">
</span>Only perfection is good enough—and no one has achieved that as yet!<span style="mso-spacerun: yes;"> </span>The modern mind seems inclined to be a bit
self-centered; to take itself and its “personality” a trifle too
seriously.<span style="mso-spacerun: yes;"> </span>I remember working in various
theaters, when I was a youngster.<span style="mso-spacerun: yes;"> </span>Many
of the coaches were great artists themselves; and, when they saw some
inexperienced novice doing terrible things, they spoke to him roughly, scolded
him publicly and in no uncertain terms.<span style="mso-spacerun: yes;">
</span>I got plenty of such training myself!<span style="mso-spacerun: yes;">
</span>Of course it was painful.<span style="mso-spacerun: yes;"> </span>Of
course it made one feel like creeping under the floor.<span style="mso-spacerun: yes;"> </span>But it was good for us.<span style="mso-spacerun: yes;"> </span>Once we had felt the sting of such public
censure, we redoubled our efforts to avoid a second dose.<span style="mso-spacerun: yes;"> </span>We were humble, alert, disciplined.<span style="mso-spacerun: yes;"> </span>And thus, we were able to grow.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Today such training is out of fashion.<span style="mso-spacerun: yes;"> </span>Young people’s feelings are easily hurt.<span style="mso-spacerun: yes;"> </span>They prefer being handled with kid
gloves.<span style="mso-spacerun: yes;"> </span>They think of themselves quite
as much as of the work they are doing.<span style="mso-spacerun: yes;">
</span>And, while they sincerely wish to do good work, they are equally anxious
to be spared pain.<span style="mso-spacerun: yes;"> </span>That makes them
softer, I am afraid, than we used to be.<span style="mso-spacerun: yes;">
</span>If a youngster cannot stand up under a thorough scolding, how will he
fare when he begins to feel the harsher blows of life?<span style="mso-spacerun: yes;"> </span>He must not be afraid that his “personality”
will become repressed by discipline.<span style="mso-spacerun: yes;"> </span>It
will not.<span style="mso-spacerun: yes;"> </span>Because mature personality (as
distinguished from mere spectacularism) is nothing more than the human distillation
of all one’s experiences.<span style="mso-spacerun: yes;"> </span>The person who
lives much and ardently, through all sorts of experiences, good and bad alike,
emerges as a personality.<span style="mso-spacerun: yes;"> </span>The person who
shields himself and spares himself, remains a figurehead.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i><span style="font-family: "Bookman Old Style","serif";">Telling the Song’s
Story</span></i></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">I like
to think of a singer as a teller of stories.<span style="mso-spacerun: yes;">
</span>He uses his voice to spread convincing tales of human love and hate and
revenge and compassion, quite as artists of a different sort tell their tales
on canvas or in a book.<span style="mso-spacerun: yes;"> </span>And to tell
these stories well, one must know life, must observe people, must keep a warm
compassion alive in the heart for other human beings.<span style="mso-spacerun: yes;"> </span>Things are going on about us at every moment,
which may one day make one better able to tell the story of a young man in
love, of an old man who has found his peace, of a restless spirit who has not
yet come to port.<span style="mso-spacerun: yes;"> </span>The singing artist
must observe these things and then retell them through his own voice and
acting.<span style="mso-spacerun: yes;"> </span>I learn something new every day—something
that will make my next performance I have never noticed before, something
better than any of the others.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>To tell stories, the voice must be
completely flexible and full of color.<span style="mso-spacerun: yes;">
</span>When saying, “I love you,” there must be an entirely different color of
voice from the one required to say, “I detest the sight of you!”<span style="mso-spacerun: yes;"> </span>For the one, the voice is warm and mellow;
for the other, it is dark and menacing.<span style="mso-spacerun: yes;">
</span>If the singer does not have these different voices—and countless others—at
command, he cannot tell his story movingly.<span style="mso-spacerun: yes;">
</span>When it is told movingly, then the singer is approaching art.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i><span style="font-family: "Bookman Old Style","serif";">Complete Singing</span></i></b><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">To
sing with a singing voice alone, means nothing.<span style="mso-spacerun: yes;">
</span>It never will enhance the singer’s progress in art; and it never will
reach his hearers’ hearts. <span style="mso-spacerun: yes;"> </span>But to tell
the different stories of human life and emotion through the voice; ah, that is
another matter!<span style="mso-spacerun: yes;"> </span>And that is why the
theory of “voice, <i style="mso-bidi-font-style: normal;">voice</i>, and again
VOICE,” is not sufficient.<span style="mso-spacerun: yes;"> </span>If one is
born with a <span style="mso-spacerun: yes;"> </span>voice in his throat, he has
simply an added blessing for which to be grateful.<span style="mso-spacerun: yes;"> </span>What he does with it, depends on himself; on
his ardor, his powers to observe and to reconstruct.<span style="mso-spacerun: yes;"> </span>Anyone can sing notes and syllables, as they
appear on the printed page.<span style="mso-spacerun: yes;"> </span>Some can
even penetrate into the music enough to sing melody and words.<span style="mso-spacerun: yes;"> </span>But only the very few learn to sing the song
itself, with all its human emotion, all its joy and suffering.<span style="mso-spacerun: yes;"> </span>Those who do, are artists.<span style="mso-spacerun: yes;"> </span>They devote themselves to portraying the
truth of life, through music.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>I am often asked about American
singers.<span style="mso-spacerun: yes;"> </span>Well, I see no reason why
America should not produce singers as great as those of any other land.<span style="mso-spacerun: yes;"> </span>I have heard many voices in my career, but
there is one that still rings in my ears.<span style="mso-spacerun: yes;">
</span>It is the voice of <a href="http://en.wikipedia.org/wiki/Marie_van_Zandt%20" target="_blank">Miss Marie van Zandt</a>, an American girl.<span style="mso-spacerun: yes;"> </span>I had the honor of singing with her, in “<a href="http://en.wikipedia.org/wiki/Lakm%C3%A9" target="_blank"><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">Lakmé</span></a>,”
long ago.<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/L%C3%A9o_Delibes" target="_blank">Delibes</a> wrote the part of <i><span style="mso-bidi-font-weight: bold;">Lakmé</span></i> with her in mind; and, if
you go to Paris and look up the Delibes monument there, you will find upon it
the likeness of that young American girl.<span style="mso-spacerun: yes;">
</span>She had a great voice and she was a great artist; and, if America
produced her, why should it not produce other great artists?<span style="mso-spacerun: yes;"> </span>Perhaps they are in the process of
development today.<span style="mso-spacerun: yes;"> </span>There are thousands
of eager young people in America’s vocal studios, learning, and working, and
burning to develop into something.<span style="mso-spacerun: yes;"> </span>What
will that “something” be?<span style="mso-spacerun: yes;"> </span>It is for them
to say.<span style="mso-spacerun: yes;"> </span>I hope, sincerely, that they
will elect to become artists.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal">
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<h1>
<span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Enjoy <a href="http://en.wikipedia.org/wiki/Joan_Sutherland" target="_blank">Dame Joan Sutherland</a> and
<a href="http://en.wikipedia.org/wiki/Marilyn_Horne" target="_blank">Marilyn Horne</a> perform the “Flower Duet” from </span><span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; font-weight: normal;">Léo </span><span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Delibes’ <i style="mso-bidi-font-style: normal;">Lakme</i>:</span></h1>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Z9ZfYr6oLhA?feature=player_embedded' frameborder='0'></iframe></div>
<h1>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSID_94BXXC6tLiBdhxPHgrL4j_4XRsZb5sRjR7z2I5ngTk0fOBPlBO_MlXm0R-V9nPtXQL3qDGWFx2FcQsGsslcBmVH-bp1hB3irL9PJurqQbXfhAnIBQdCM_7F7HK5yifTDXh1vNaB2H/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSID_94BXXC6tLiBdhxPHgrL4j_4XRsZb5sRjR7z2I5ngTk0fOBPlBO_MlXm0R-V9nPtXQL3qDGWFx2FcQsGsslcBmVH-bp1hB3irL9PJurqQbXfhAnIBQdCM_7F7HK5yifTDXh1vNaB2H/s640/divider.jpg" width="640" /></a><span style="font-family: "Bookman Old Style","serif"; font-size: 11pt; font-weight: normal;"> </span></h1>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">SELF-TEST QUESTIONS ON MR.
CHALIAPIN’S ARTICLE</span></i><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">1.<span style="mso-tab-count: 1;"> </span>Quote a fallacious adage on singing.</span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">2.<span style="mso-tab-count: 1;"> </span>Why is more than “voice” needed?</span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">3.<span style="mso-tab-count: 1;"> </span>What is the safest method of voice production?</span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">4.<span style="mso-tab-count: 1;"> </span>How is the voice to be preserved?</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">5.<span style="mso-tab-count: 1;"> </span>What will the singer learn by the observation of life about
him?</span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>by <a href="http://en.wikipedia.org/wiki/Feodor_Chaliapin" target="_blank">Feodor Chaliapin</a><a href="https://en.wikipedia.org/wiki/Robert_Stanley_Weir" target="_blank"> </a></i></div>
THE ETUDE MUSIC MAGAZINE – January 1936
<div class="MsoNormal">
<br /></div>
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com1tag:blogger.com,1999:blog-8046327800869806948.post-46990792802242896532013-05-23T13:41:00.002-07:002013-05-29T04:13:33.671-07:00The Brambach Baby Grand<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXANIkGXP5xaYumbQuE-ICY5ZWetHp__1SM4zpj8yaE5dLyCHRL5JoVWSXq61-uyfNwD_JqDAAmYy-4z6SsNmoBiOl9jPGEdvWBcGqKC-Bi59ac8n2QBPnP-gsc9fuZCMyFFijTvAGpbxn/s1600/ETUDE1921JuneBraumbachpianoad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXANIkGXP5xaYumbQuE-ICY5ZWetHp__1SM4zpj8yaE5dLyCHRL5JoVWSXq61-uyfNwD_JqDAAmYy-4z6SsNmoBiOl9jPGEdvWBcGqKC-Bi59ac8n2QBPnP-gsc9fuZCMyFFijTvAGpbxn/s640/ETUDE1921JuneBraumbachpianoad.jpg" width="250" /></a></div>
THE ETUDE MUSIC MAGAZINE – June 1921 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-4612599678593982152013-05-23T12:48:00.000-07:002013-05-23T12:58:32.208-07:00The Musical Scrap Book<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbcdfMFQCiF6-TUpZrGGis3VxeVB4ztGKHK1CzU_gwEBc2F6c58aT_aG0uINPmcbnQg6wBSBMg7XNpFmcI7ZuKI3-489Vd16qo8UsjbqFam2nQxh8HkaX4X8Oux2XSjvzfziGAasw9i4HT/s1600/ETUDE1927mayfulltitle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbcdfMFQCiF6-TUpZrGGis3VxeVB4ztGKHK1CzU_gwEBc2F6c58aT_aG0uINPmcbnQg6wBSBMg7XNpFmcI7ZuKI3-489Vd16qo8UsjbqFam2nQxh8HkaX4X8Oux2XSjvzfziGAasw9i4HT/s640/ETUDE1927mayfulltitle.jpg" width="640" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"> </span></div>
<div class="MsoNormal" style="text-align: center;">
<a href="http://en.wikipedia.org/wiki/Birthplace_of_Fr%C3%A9d%C3%A9ric_Chopin" target="_blank"><span style="font-family: "Bookman Old Style","serif";"><i>CHOPIN'S FIRST HOME</i></span></a></div>
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</div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>A delightful glimpse of the home into
which Chopin was born is given in “<a href="http://books.google.com/books?id=RImYd5KtQdwC&pg=PA56&source=gbs_toc_r&cad=4#v=onepage&q&f=false%20" target="_blank">Chopin, the Child and the Lad</a>,” by Uminska
and Kennedy.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The “flat” in a small town on the
<a href="http://en.wikipedia.org/wiki/Mazovia" target="_blank">Mazovian</a> plains, say these authors, was “a little suite of rooms in the long,
low annex of Countess Skarba’s manor-house, and was separated by a hall from
the manor bakery and kitchen . . . .<span style="mso-spacerun: yes;"> </span>The
Chopins’ three rooms had, as was then the habit, beamed ceilings and
whitewashed walls.<span style="mso-spacerun: yes;"> </span>They were furnished
with solid old-fashioned mahogany furniture.<span style="mso-spacerun: yes;">
</span>In the one-windowed front room in which Nicholas Chopin, the new-born baby’s
father, was wont to sit and study, there were also bookshelves, containing his collection
of books, from which he was never willingly separated.<span style="mso-spacerun: yes;"> </span>The next room, which had two windows, was the
largest of all and served as a drawing room.<span style="mso-spacerun: yes;">
</span>In one corner of it stood a high-backed clavichord.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“The third room, which was at the back
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River Utrata (Utrata means “loss”), which flowed almost under the windows of
the house.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“In the corner of each of these rooms
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muslin curtains covered the windows and on the broad sills stood Fushia,
Pelargonium and Geranium plants.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i><span style="font-family: "Bookman Old Style","serif";">“It is well to remember that to
be successful one must play, direct, or compose up to the public.<span style="mso-spacerun: yes;"> </span>It is the greatest nonsense to imagine that
success depends on playing down to the public.”—</span></i><a href="http://en.wikipedia.org/wiki/John_Philip_Sousa" target="_blank"><span style="font-family: "Bookman Old Style","serif";">John Philip Sousa</span></a></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Bookman Old Style","serif";"> </span><i><span style="font-family: "Bookman Old Style","serif";">“HIS OWN BOSS”</span></i></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>James Jupp has written a book.<span style="mso-spacerun: yes;"> </span>It is called “The <a href="http://en.wikipedia.org/wiki/Gaiety_Theatre,_London" target="_blank">Gaiety Stage</a> Door,” and
James Jupp kept the door of this famous London playhouse for thirty years.<span style="mso-spacerun: yes;"> </span>He has many strange stories to tell including
one about a street-singer who attracted the mighty <a href="http://en.wikipedia.org/wiki/George_Edwardes" target="_blank">George Edwardes</a>, then at his
prime as a producer of musical comedies.<span style="mso-spacerun: yes;">
</span>Edwardes sent for the man who had a fine but untrained baritone voice.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“He (Edwardes) put several questions
to him in a delicate manner, as to why he was singing in the street, if he had
any parents, and so forth.<span style="mso-spacerun: yes;"> </span>Then he made
an offer for which any right-minded young man would have been everlastingly
grateful. <span style="mso-spacerun: yes;"> </span>It was that he should be put
under a master and be thoroughly trained for opera, comic opera, or musical
comedy or whichever his voice proved to be most suitable for.<span style="mso-spacerun: yes;"> </span>he would be clothed and have board and
lodging found for him, and during the time he was studying (perhaps two or
three years) he would be paid five pounds ($25) a week.<span style="mso-spacerun: yes;"> </span>At the end of his studies he was to enter
into a contract with Mr. Edwardes, who would put him on the stage in London,
and if he (Mr. Edwardes) had any judgment, he would be assured of a very
successful career.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>To this generous offer, says Jupp, the
man made the following reply:</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“’Do you know that I rake in as much
as $100 a week at this game?<span style="mso-spacerun: yes;"> </span>Sometimes
more?<span style="mso-spacerun: yes;"> </span>And I am my own boss.<span style="mso-spacerun: yes;"> </span>I sing when and where I like, and not at all
if I don’t feel in the mood.<span style="mso-spacerun: yes;"> </span>Study!<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Me
study?</i><span style="mso-spacerun: yes;"> </span>No thanks!’”</span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a><span style="font-family: "Bookman Old Style","serif";"> </span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Bookman Old Style","serif";"><i>THE HARSHNESS OF MODERN MUSIC</i></span></div>
<div class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>If modern music is ugly, at times, and
bitter with acid discord, this is because it interprets the spirit of our
times, says H. E. Wortham, an English critic who writes quite cheerfully on the
theme in his “Musical Odyssey.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“The harshness of the greatest modern
music is not to be denied,” he declares, “and, in so far as it springs from new
uses of the scale and unfamiliar harmonic idioms, will wear off with time.<span style="mso-spacerun: yes;"> </span>But we cannot thus account for it all.<span style="mso-spacerun: yes;"> </span>There is assuredly a deeper reason.<span style="mso-spacerun: yes;"> </span>Though music stands apart from the sphere of
daily life, the musician is always subject to the spiritual stresses and struggles
of the society in which he lives, and reflects them the more clearly in that
his will be a nature more sensitive than that of the ordinary man<span style="mso-spacerun: yes;"> </span>Thus when we find composers of genius giving
utterance to strains that are positively painful in their harsh intensity, it
is the wiser course not to condemn such as the eccentricity of talent striving
after originality, but to accept them as the truest echo we can offer today of
the music of the spheres.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“That echo sounds differently in every
age.<span style="mso-spacerun: yes;"> </span>We do not hear it as did the
Victorians.<span style="mso-spacerun: yes;"> </span>Parry, who was doing good
work only a decade ago, is already the voice of a past time.<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/Edward_Elgar" target="_blank">Sir Edward Elgar</a>, still happily in the full
tide of life and strength, is beginning to appear remote.<span style="mso-spacerun: yes;"> </span>In them there is not that undercurrent of
mental restlessness of excitement and disillusion which is characteristic of
today.<span style="mso-spacerun: yes;"> </span>It can be seen in a hundred ways,
but it can be seen most powerfully perhaps in the ‘<a href="https://en.wikipedia.org/wiki/The_Planets" target="_blank">Planets</a>,’ a work at once huge,
as the modern world is huge, but also mystical as the modern world is not.<span style="mso-spacerun: yes;"> </span>When the future historian of our defunct
civilization wishes to gain an insight into the way European peoples of today
reacted to the imponderable things of the spirit, he will not be able to do
better than to turn to <a href="http://en.wikipedia.org/wiki/Gustav_Holst" target="_blank">Holst</a>’s masterpiece.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
<br />
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<![endif]--><span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Enjoy <i style="mso-bidi-font-style: normal;">“Jupiter”</i>
from Gustav Holst’s <u>Planets</u>, performed by the <a href="http://www.osaka-phil.com/" target="_blank">Osaka PhilharmonicOrchestra</a>, Eiji Oue, conducting:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/3B49N46I39Y?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-family: "Bookman Old Style","serif"; font-size: 11pt; line-height: 115%;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Bookman Old Style","serif";"> <i>CHILDHOOD OF GOTTSCHALK</i></span></div>
<div class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span><a href="http://en.wikipedia.org/wiki/Louis_Moreau_Gottschalk" target="_blank">Gottschalk</a>, first of American piano
virtuosi, learned to play the piano as early as in his fourth year, according
to Marguerite F. Aylmer, quoted by Octavia Hensel in the latter’s “Life andLetters of Louis Moreau Gottschalk.”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“His early childhood was passed in a
poetic and wild retirement, far from the noise of cities, or the realities of
the world of men.<span style="mso-spacerun: yes;"> </span>On the romantic shores
of Lake Pontchartrain he drew his first inspirations from the wisest and most
beneficial of all teachers—Nature.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“At the age of four, he sought an
outlet for his wonderful inspiration, for by no other name can it be called, on
the piano; and not infrequently at that tender age, his mother would be
awakened in the long still nights by faint sweet melodies from below, and
descend to find the child fingering the ‘beautiful cold keys,’ with a
marvelous, rapt look on his little face.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“The first opera he ever heard, was ‘<a href="http://www.youtube.com/watch?v=uOVC0gETu6g" target="_blank">Robertle Diable</a>’ and upon his return from the theater he sat down and played the
principal airs with a miraculous exactitude.<span style="mso-spacerun: yes;">
</span>Long years after, when the child had grown to a world-famous man, he
says, speaking of the death of <a href="http://en.wikipedia.org/wiki/Giacomo_Meyerbeer" target="_blank">Meyerbeer</a>, “I will not attempt to tell you of my
grief; to understand it, you must have been habituated, like myself, from
infancy, to something little short of worship for this great genius, whose <i style="mso-bidi-font-style: normal;">chef-d’oeuvre</i>, “<a href="http://en.wikipedia.org/wiki/Robert_le_diable" target="_blank">Robert le Diable</a>,’
filled my early years with ineffable joy.’”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Gottschalk (1829-69) was of
Anglo-French descent, and was musically educated in Paris.<span style="mso-spacerun: yes;"> </span>He is best known by his compositions “<a href="http://youtu.be/w-qZMTKHAMs" target="_blank">TheLast Hope</a>” and “<a href="http://www.youtube.com/watch?v=hB24TQ6qk58" target="_blank">Dying Poet</a>,” but deserves to be known also by his
transcriptions of <a href="http://en.wikipedia.org/wiki/Creole_music" target="_blank">Creole music</a> and typical Creole compositions.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Bookman Old Style","serif";"> </span><i><span style="font-family: "Bookman Old Style","serif";">WHEN CALVE WAS LATE</span></i></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span><a href="http://en.wikipedia.org/wiki/Emma_Calv%C3%A9" target="_blank">Emma <span style="mso-bidi-font-weight: bold;">Calvé’s</span></a> book, “My Life,” contains many revealing incidents culled
from her varied career, including one that shows how even a great singer can
learn a lesson in promptitude.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“At the last general rehearsal before
the first night of ‘<a href="http://en.wikipedia.org/wiki/Sapho_%28Massenet%29" target="_blank">Sappho</a>’ (an opera specially written for <span style="mso-bidi-font-weight: bold;">Calvé</span> by <a href="http://en.wikipedia.org/wiki/Jules_Massenet" target="_blank">Massenet</a>), I had the
misfortune of arriving at the theater ten minutes late.<span style="mso-spacerun: yes;"> </span>The company was waiting, and Massenet,
excited and nervous as usual, was decidedly out of patience.<span style="mso-spacerun: yes;"> </span>He greeted me abruptly, disregarding the presence
of my comrades and the members of the chorus and orchestra.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“’Mademoiselle <span style="mso-bidi-font-weight: bold;">Calvé</span>,’ he said, ‘an artist worthy of the name would never keep
her fellow workers waiting!’</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“It was extremely angry.<span style="mso-spacerun: yes;"> </span>Turning away, I walked off the stage and
started to leave the building.<span style="mso-spacerun: yes;"> </span>On my way
out, I had a change of heart.<span style="mso-spacerun: yes;"> </span>It took
all my courage, but I decided to go back!</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“’My friends,’ I said, ‘the master is
right.<span style="mso-spacerun: yes;"> </span>I am at fault.<span style="mso-spacerun: yes;"> </span>Forgive me!<span style="mso-spacerun: yes;">
</span>I am ready to rehearse my part, if I am permitted to do so.’</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“The chorus and the orchestra
applauded.<span style="mso-spacerun: yes;"> </span>Massenet embraced me.<span style="mso-spacerun: yes;"> </span>I was forgiven, but it had been a painful
lesson.<span style="mso-spacerun: yes;"> </span>Since then, I have never been a
minute late for even the most unimportant engagement.”</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Being late at rehearsals is a serious
business, and orchestra conductors are usually very strict on this matter with
their personnel.<span style="mso-spacerun: yes;"> </span>Musicians are
sensitive, and playing at a high pitch, so that any slight interruption or
mishap may throw them off their balance and spoil the music.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
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<![endif]--><span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Enjoy this recording of Emma
Calvé performing <i>"Plaisir d'Amour"</i> from 1908<u>:</u></span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/hXE7Ff2ieAw?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif"; font-size: 11pt; line-height: 115%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Bookman Old Style","serif";"> <i>“A
SMALL ORCHESTRA OF SOLOISTS”</i></span></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>We have seen symphony orchestras in
the course of a century or so swell up from the twenty or thirty players of
Haydn’s time to the immensity of the modern symphony orchestra.<span style="mso-spacerun: yes;"> </span><a href="http://en.wikipedia.org/wiki/George_Dyson_%28composer%29" target="_blank">George Dyson</a> in his book “The New Music”
suggests the return to smaller orchestras in a novel way:</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“It is just possible that we are
feeling our way towards that ideal combination, a small orchestra of soloists,
in which every performer will be an aristocrat, to his own and music’s great
advantage,” says Dyson.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“Nobody knows yet what to do, still less
what may eventually be done, with such a medium.<span style="mso-spacerun: yes;"> </span>There are few composers who can handle as
many as a dozen instruments with sustained yet orderly independence.<span style="mso-spacerun: yes;"> </span>But no one ever did know what to do with new
possibilities.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“Slowly, clumsily, and with but a
partial dawning of comprehension, music has gradually embraced its
resources.<span style="mso-spacerun: yes;"> </span>In the end one can imagine
the new Bach, as it were, consummately applying the interpretative gifts of a
selected few to the evolution of new forms of beauty.<span style="mso-spacerun: yes;"> </span>There was never a time when players of such
perfection awaited the composer of genius.<span style="mso-spacerun: yes;">
</span>The old Bach was sometimes constrained to enroll an instrumental chorus
to support his scanty soloists.<span style="mso-spacerun: yes;"> </span>We have
seen where that may lead, the new Bach will, it is hoped, be spared such
temptations</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“This music will in many respects be
eclectic.<span style="mso-spacerun: yes;"> </span>It will not lend itself to
arrangements for the piano, or submit to the devastating effect of unsuitable instruments
in undiscriminating hands.<span style="mso-spacerun: yes;"> </span>But the vast
concourse of music-lovers wants to listen, not to play.<span style="mso-spacerun: yes;"> </span>And now that difficulties of reproduction and
circulation are for the most part solved, it is theoretically possible for new
works to reach, in substantial purity, the ear of the true amateur, whoever and
wherever he may be.”</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">“Music, when soft voices die,</span></i></div>
<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Bookman Old Style","serif";">Vibrates in the memory.”</span></i><span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Bookman Old Style","serif";">—<a href="http://en.wikipedia.org/wiki/Percy_Bysshe_Shelley" target="_blank">Shelley</a>. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
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<span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Bookman Old Style","serif";"><i>AUER'S 40-YEAR-OLD PUPIL</i></span></div>
<div class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The difficulties of Jewish music
students in Russia under the old order are told by <a href="http://en.wikipedia.org/wiki/Leopold_Auer" target="_blank">Leopold Auer</a> in “My Long
Life in Music.”<span style="mso-spacerun: yes;"> </span>When he was teaching at
the <a href="http://istud.conservatory.ru/" target="_blank">St. Petersburg Conservatoire</a>, young <a href="http://www.jaschaheifetz.com/" target="_blank">Jascha Heifetz</a> was admitted without
question, but his parents and little sisters were barred from the city on
racial grounds.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Finally, however, “Someone hit upon
the happy idea,” says Auer, “of suggesting that I admit Jascha’s father, a
violinist of forty, into my own class, and thus solve the problem.<span style="mso-spacerun: yes;"> </span>This I did, and as a result the law was
obeyed while at the same time the Heifetz family was not separated, for it was
not legally permissible for the wife and children of a Conservatoire pupil to
be separated from the husband and father.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“However, since the students were
without exception expected to attend the obligatory classes in solfeggio, piano
and harmony, and since Papa Heifetz most certainly did not attend any of them,
and did not play at the examination, I had to battle continually with the
management on his account.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>“It was not until the advent of
<a href="http://en.wikipedia.org/wiki/Alexander_Glazunov" target="_blank">Glazounoff</a>, my last director, who knew the true inwardness of the situation,
that I had no further trouble in seeing that the boy remained in his parents’
care until the summer of 1917, when the family was able to go to America.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFdAwMNxlga8JX4Kcmr4oc_Gqctf88Xo3hxt95o9x-6-RGj6aEwP6V4S0rWUX89_npw1iOFGHS_FcaHZZowQgnI-RNBxOv3w-N8nkduPxTKRAEpeO1ZFRUPVWhZNhyphenhyphenYAoaHLvpZjDm5Lp/s640/divider.jpg" width="640" /></a></div>
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Partitia No. 2 in D minor:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/6q-Zqz7mNjQ?feature=player_embedded' frameborder='0'></iframe></div>
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<i>by A. S. Garbett<a href="http://en.wikipedia.org/wiki/Theodore_Stearns" target="_blank"></a><a href="https://en.wikipedia.org/wiki/Robert_Stanley_Weir" target="_blank"> </a></i></div>
THE ETUDE MUSIC MAGAZINE – May 1927
<br />
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</div>
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com2tag:blogger.com,1999:blog-8046327800869806948.post-80981981498813349792013-05-23T05:35:00.001-07:002013-05-29T04:13:56.006-07:00Louisville Conservatory of Music<div class="separator" style="clear: both; text-align: center;">
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THE ETUDE MUSIC MAGAZINE – July 1921 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-47959541434037968062013-05-22T19:29:00.000-07:002013-05-22T20:27:37.426-07:00Mozart: Boy and Man<div class="separator" style="clear: both; text-align: center;">
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<br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The greatest stranger to Mozart was
Mozart himself.<span style="mso-spacerun: yes;"> </span>The greatest gifts he
made were given to those who never helped him.<span style="mso-spacerun: yes;">
</span>More than any other light in music he needed a true friend; he never
found one.<span style="mso-spacerun: yes;"> </span>His heart overflowed with the
most tender and ideal love that imagination can create, but it never was
appreciated as long as it burned.<span style="mso-spacerun: yes;"> </span>When a
boy of five or six he astounded Europe by his magnificent concert-playing;
thirty years later his coffin was piled upon others in a potter’s-field
trench.<span style="mso-spacerun: yes;"> </span>Such, in brief, is the history
of <a href="https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart" target="_blank">Wolfgang Mozart</a>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">The
Boy.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Of Mozart’s early boyhood little is
known beyond the traditionary folk-lore that lurks about the early history of
most of the great musicians of a century and more ago.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>His most prominent characteristics
were his best, and, for that matter, he never had any bad traits.<span style="mso-spacerun: yes;"> </span>He showed early that his delicate
sensitiveness was second only to a generous, unaffected and kind
disposition.<span style="mso-spacerun: yes;"> </span>All through life he was
thus.<span style="mso-spacerun: yes;"> </span>It might be said that he was born
a gentleman.<span style="mso-spacerun: yes;"> </span>He was an extremely
affectionate child, and was deferential to his mates and to his elders.<span style="mso-spacerun: yes;"> </span>So classically pure was his mind and so
instinctively ideal were his likes that he could not see the imperfect nor bear
to view pain or distress without experiencing an emotion so physically active
as to reflect in counterpart the pain or distress that he noticed.<span style="mso-spacerun: yes;"> </span>Such a supersensitiveness naturally reacted
unfavorably, and thus it came that, because his mind was so superior to his
body, his body suffered and was easy prey to the subsequent life of irregularity,
exposure, and deprivation.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>None the less, Mozart was a boy in the
fullest sense of the word.<span style="mso-spacerun: yes;"> </span>Though he
romped and spun somersaults in laces and velvet, he was just as boyish and
whole-souled about it as <a href="http://en.wikipedia.org/wiki/Richard_Wagner" target="_blank">Wagner</a> in his madcap pranks with butcher’s boys, or
<a href="http://en.wikipedia.org/wiki/Franz_Schubert" target="_blank">Schubert</a> in his beduck pond village.<span style="mso-spacerun: yes;"> </span>As
a boy Mozart was full of humor.<span style="mso-spacerun: yes;"> </span>He liked
a good joke hugely and never failed to perpetrate one on others when chance
offered.<span style="mso-spacerun: yes;"> </span>In this, however, he was never
boisterous or untimely.<span style="mso-spacerun: yes;"> </span>His humor, like
his music was the outgrowth of an irrepressible love for the beautiful and joyous.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Mozart’s incomprehensible precocity is
elsewhere dilated upon.<span style="mso-spacerun: yes;"> </span>At the age of
three years he had composed a minuet so perfect in its simplicity that one is
in despair for words of comment<span style="mso-spacerun: yes;"> </span>At six
he was traveling with his father, giving concerts all over Europe and composing
almost constantly.<span style="mso-spacerun: yes;"> </span>At that age his
piano-playing was marvelous, besides which he was an excellent violinist.<span style="mso-spacerun: yes;"> </span>He was petted by the highest in lands and
courts into which his fame preceded him.<span style="mso-spacerun: yes;">
</span>Far from being the inscrutable genius one would think, Mozart was fresh,
naïve, unspoiled, and full of life and spring.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"> Enjoy this </span>Rondo-Allegro from Mozart's Violin and Piano Sonata in B Flat Major<span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> performed by Solenne Paidassi,
violin and <a href="http://www.valentinalisitsa.com/" target="_blank">Valentina Lisitsa</a>, piano:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/mWRri-kYPM0?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s640/divider.jpg" width="640" /></a></div>
<br />
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"> Middle
Stage.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The high-water mark in Mozart’s
musical career was reached during the two years he spent in Italy.<span style="mso-spacerun: yes;"> </span>He was in his thirteenth and fourteenth
years, and had been concertizing for a long time prior to that.<span style="mso-spacerun: yes;"> </span>His life had been spent in courts and
palaces, and his articles, childish affection had made him the favorite of the
court ladies wherever he appeared.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>He slipped from the laps of princesses
to compose grand operas.<span style="mso-spacerun: yes;"> </span>At the age of
nine he melted the <a href="http://en.wikipedia.org/wiki/Maria_Theresa" target="_blank">Empress Maria Theresa</a> to tears by his beautiful
violin-playing only to mischievously paraphrase his tender music into a
grotesque “barn-yard” impromptu that began with the bray of a donkey and ended
with a terrific cat-fight three inches from the bridge on his instrument.<span style="mso-spacerun: yes;"> </span>Then he threw his arms around the good lady’s
neck and begged her pardon for the prank.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Five years later he was commissioned
to write an opera for the Christmas festivities at Milan and at the age of
fourteen conducted his opera at <a href="http://www.teatroallascala.org/" target="_blank"><i style="mso-bidi-font-style: normal;">La Scala</i></a>
before a delirious multitude of nobles and folk who swayed under the boy’s
enchantment as a field of golden grain bends beneath the breezes of summer.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“’Evviva
</i>the Little Master—<i style="mso-bidi-font-style: normal;">Evviva</i><span style="mso-spacerun: yes;"> </span>the Little Master!’ cried the audience.<span style="mso-spacerun: yes;"> </span>‘It is music for the stars,’ and, against all
precedent, aria after aria had to be repeated.<span style="mso-spacerun: yes;">
</span>The boy, always rather small for his age, stood on a chair to wield his
baton, and the flowers that were rained upon him nearly covered the lad from
view.” (<a href="http://en.wikipedia.org/wiki/Elbert_Hubbard" target="_blank">Elbert Hubbard</a>, in “<a href="http://www.gutenberg.org/files/20318/20318-h/20318-h.htm#WOLFGANG_MOZART" target="_blank">Little Journeys</a>.”)</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>As may well be imagined, Mozart’s
money came and went with a perpetual motion that increased with his years.<span style="mso-spacerun: yes;"> </span>He was an easy mark for hungry and thirsty
mendicants, and the most improbable tale of woe would as surely attract money
out of his pocket (if he had any at the time) as a lodestone a needle.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>His father, Leopold Mozart, was to
blame for this improvidence.<span style="mso-spacerun: yes;"> </span>He had been
the traveling guardian of his marvelous son during all of the concert-trips and
was a man easily satisfied.<span style="mso-spacerun: yes;"> </span>“But what
must we pay you, Herr Mozart?” he was once asked.<span style="mso-spacerun: yes;"> </span>Said the elder man with delightful
abandon:<span style="mso-spacerun: yes;"> </span>“Oh, give us a special carriage
and a good hotel; that will do.<span style="mso-spacerun: yes;"> </span>And
don’t forget that I like ‘Johannesberger.’”<span style="mso-spacerun: yes;">
</span>Is it little wonder then that Wolfgang never knew the value of
money?<span style="mso-spacerun: yes;"> </span>As was the case with many great
musicians, his first impulse was to give and give unthinkingly.<span style="mso-spacerun: yes;"> </span>He lacked, moreover, diplomacy.<span style="mso-spacerun: yes;"> </span>He would give a beggar a gold piece to dine
on and himself eat for a few <a href="http://en.wikipedia.org/wiki/Kreuzer" target="_blank">kreutzers</a>.<span style="mso-spacerun: yes;">
</span>Rightly might he be likened to the man who, when “held up” by a midnight
prowler, said briskly:<span style="mso-spacerun: yes;"> </span>“Hello, old
scout!<span style="mso-spacerun: yes;"> </span>Say, you take everything I’ve got
and give me the rest, and I’ll be satisfied.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Mozart’s heart was on his sleeve until
he married.<span style="mso-spacerun: yes;"> </span>His wife was the sister of
his first “great passion.”<span style="mso-spacerun: yes;"> </span>He was like
<a href="http://en.wikipedia.org/wiki/Robert_Browning" target="_blank">Browning’s</a> “<a href="http://en.wikipedia.org/wiki/My_Last_Duchess" target="_blank">Last Dutchess</a>”:<span style="mso-spacerun: yes;"> </span>he “liked
whate’er he looked on.”<span style="mso-spacerun: yes;"> </span>But if his loves
were promiscuous they were pure and always tinged with idealism.<span style="mso-spacerun: yes;"> </span>Like the music which he wrote, his heart was
a ceaseless flow of love’s melody.<span style="mso-spacerun: yes;"> </span>Like
an ethereal <a href="http://en.wikipedia.org/wiki/Aeolian_harp" target="_blank">Aeolian harp</a>, its strings were sensitive to every passing
breeze.<span style="mso-spacerun: yes;"> </span>His heart was ever responding to
what it believed to be its chosen mate.<span style="mso-spacerun: yes;">
</span>Alas! that mate was never found save the ideal within it, and when
Mozart married he married himself.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">The
Man.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Mozart was scarcely twenty when he met
<a href="http://en.wikipedia.org/wiki/Aloysia_Weber" target="_blank">Aloysia Weber</a>.<span style="mso-spacerun: yes;"> </span>She was a good singer,
but a woman of whims, thoroughly selfish, and utterly heartless.<span style="mso-spacerun: yes;"> </span>Well, they made promises—Mozart was in heaven,
and Aloysia thought he “was a nice little man” (<i style="mso-bidi-font-style: normal;">a’nettes, Kleines Kerlschen</i>).<span style="mso-spacerun: yes;">
</span>For once in his life old Leopold Mozart showed common sense and hurried
his son to Paris.<span style="mso-spacerun: yes;"> </span>The lovers had met in
Vienna.<span style="mso-spacerun: yes;"> </span>But Mozart’s <a href="http://www.britannica.com/EBchecked/topic/1698941/Lochinvar" target="_blank">Lochinvarian</a>
instincts had been aroused.<span style="mso-spacerun: yes;"> </span>Back to
Vienna he would, and back to Vienna he went.<span style="mso-spacerun: yes;">
</span>When he appeared before his mistress, however, she tapped her large foot
impatiently.<span style="mso-spacerun: yes;"> </span>She had meanwhile
transferred her affections to another.<span style="mso-spacerun: yes;">
</span>She could not love both, she was sorry for Herr Mozart, but, well the
best thing they could do was to part.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Broken-hearted, Mozart became sick,
and a serious spell of illness followed.<span style="mso-spacerun: yes;">
</span>Aloysia had a younger sister, <a href="http://en.wikipedia.org/wiki/Constanze_Mozart" target="_blank">Constanze Weber</a>, who was as gentle, meek,
and sympathetic as her more accomplished sister was superciliously superior and
merciless.<span style="mso-spacerun: yes;"> </span>She wept oceans of tears over
Mozart’s bed, and nursed him back to strength.<span style="mso-spacerun: yes;">
</span>Of course, Mozart’s affections rallied, and naturally transferred
themselves to his nurse.<span style="mso-spacerun: yes;"> </span>I say
naturally, for he would have married a charcoal burner’s grandmother if she had
begged him to, and cried a few tears.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Their housekeeping was queer; in fact,
it was scarcely to be spoken of with any degree of seriousness.<span style="mso-spacerun: yes;"> </span>To begin with Constance was as much a child
as her husband, and it is shrewdly questioned whether she ever used a broom or
a dish-rag.<span style="mso-spacerun: yes;"> </span>When money was plentiful she
would buy silk parasols and confectionery—then borrow flour and coffee from a
neighbor for their dinner, and promenade with one shoe run down at the heel.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The borrowed provisions she invariably
forgot to return, and the frequent failure to pay the rent kept what few
clothes they did have constantly packed and ready for a move.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>They mostly slept on straw, and lived
on a gust of wind, with occasional flights into an expensive restaurant or a
few days’ sojourn in elegant rooms ridiculously beyond their means.<span style="mso-spacerun: yes;"> </span>Yet amidst all the irregularity of living
they loved one another devotedly, albeit Constance showed her solicitude more
by buying Mozart useless gifts than by darning his socks.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Mozart’s love for her, on the
contrary, was beautifully pathetic.<span style="mso-spacerun: yes;"> </span>If
he rose early to fasten on paper some immortal melody his dreams had inspired,
he would leave a tender love-letter by his sleeping wife’s bedside.<span style="mso-spacerun: yes;"> </span>A biographer has given us one such:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“Guten
Morgen liebes Frauschen,”</i> it runs.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Immeasurable power of genius!<span style="mso-spacerun: yes;"> </span>From a pallet a swain would scorn,
overburdened and underfed, this young man, buoyed with hope and goldened by
love, could arise to a new day and could not be discouraged.<span style="mso-spacerun: yes;"> </span>To him life was full of promise, and riches
untold beckoned him onward.<span style="mso-spacerun: yes;"> </span>But
Constance became sick and her continued illness gave him man a heart-throb of
miserable pain.<span style="mso-spacerun: yes;"> </span>He was constantly
working and slaving for the selfish and unappreciative.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>His creditors hounded him, and from
those who owed him he could get no justice.<span style="mso-spacerun: yes;">
</span>At the age of thirty-five his vitality, sapped and undermined by years
of exposure and semi-starvation, gave way suddenly, and in a short while
rapidly declined.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s640/divider.jpg" width="640" /></a></div>
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<![endif]--><span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Enjoy the <a href="http://diana-damrau.com/" target="_blank">Diana Damrau’s</a>
performance of the <span style="mso-spacerun: yes;"> </span>“Queen of the Night
Aria” in a <a href="http://www.roh.org.uk/" target="_blank">Royal Opera House</a> production of Mozart’s, <i style="mso-bidi-font-style: normal;">Magic Flute</i>:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/C2ODfuMMyss?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s640/divider.jpg" width="640" /></a></div>
<br />
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<span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">The
Death and Burial.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>A mere skeleton of his formal self,
wasted by lack of suitable nourishment, Mozart died as quietly and simply as a
brief glow from a dying sunset is succeeded by the purple shadows of
twilight.<span style="mso-spacerun: yes;"> </span>He died penniless as far as
the world goes, but in his works he left a legacy behind him that the whole
world can never consume. <span style="mso-spacerun: yes;"> </span>Through a
silent lane of costly tombs and followed only by a few friends, his body was
borne in a pine coffin to a pauper’s grave.<span style="mso-spacerun: yes;">
</span>A bleak winter day in December, 1791, it was when the burial occurred,
and the only dirge that played for the passed musician was the blustering wind
that howled through the naked branches of the trees.<span style="mso-spacerun: yes;"> </span>And it was full of significance, this
farewell of Nature, who in the spring of his love and life and promise sent her
birds to welcome Mozart into a new day of warmth and joy, only to mourn over
his untimely descent into her bosom with the garb of death.<span style="mso-spacerun: yes;"> </span>He left nine hundred and twenty-two
compositions behind him.<span style="mso-spacerun: yes;"> </span>Each one of
them is a monument to his genius.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s640/divider.jpg" width="640" /></a></div>
<br />
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<span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Enjoy Mozart’s Symphony No.
41 in C major (“<i>Jupiter</i>”) performed by <a href="http://www.coeurope.org/" target="_blank">The Chamber Orchestra of Europe</a>, <a href="http://www.nikolausharnoncourt.com/" target="_blank">Nikolaus Harnoncourt</a> conducting:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/zK5295yEQMQ?feature=player_embedded' frameborder='0'></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUghd2comxnouNkMiOsFMJ0wiygumCsExfUBvm_q8u7tc2t_gA5sOM-pjpEVFF8R7tN14dS_bdz-XIV9V3wb3N3VT-2k7lF0aip6M89XVJyD4emR5sMli5KD0y6P4rar13a2Mf5c2VAjxC/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"></span></div>
<div class="MsoNormal">
<i>by <a href="http://en.wikipedia.org/wiki/Theodore_Stearns" target="_blank">Theodore Stearns</a><a href="https://en.wikipedia.org/wiki/Robert_Stanley_Weir" target="_blank"> </a></i></div>
THE ETUDE MUSIC MAGAZINE – December 1901
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-57079951782963798202013-05-22T00:31:00.001-07:002013-05-22T00:31:32.147-07:00Baker's Cocoa<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiGK2TtZxWsP-5hXZo4YcFKwZs4ANpc27iSI8OQZMzY7yonF7jQSloUt_0HsbiKDO6ci1wFREAAqFbHAO0Rgg_dnLqFvt0j0ahT6nOkf1JHL0qyIQIAdnQiIk-r7J7PJVhjdv2uAdMYhxp/s1600/ETUDE1921NovemberBakersCocoaAd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiGK2TtZxWsP-5hXZo4YcFKwZs4ANpc27iSI8OQZMzY7yonF7jQSloUt_0HsbiKDO6ci1wFREAAqFbHAO0Rgg_dnLqFvt0j0ahT6nOkf1JHL0qyIQIAdnQiIk-r7J7PJVhjdv2uAdMYhxp/s640/ETUDE1921NovemberBakersCocoaAd.jpg" width="208" /></a></div>
THE ETUDE MUSIC MAGAZINE – November 1921 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-41865339893660608412013-05-19T12:58:00.000-07:002013-05-19T12:58:14.379-07:00Recollections of Celebrated Musicians<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPlgrfmPkjDnHjdkeSRKApAl5OZXrGKqWlAqltXDg4EzHMKWbwWIwdsfs1wOTMconn8JXdhbN0oZbIjNmq5_wfGsM6bkSooc12IYSb3z727jDkmzTQrnbrFu-yxorlNpSd6TJSejtw_RR8/s1600/ETUDE1914MarchSchradieck.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPlgrfmPkjDnHjdkeSRKApAl5OZXrGKqWlAqltXDg4EzHMKWbwWIwdsfs1wOTMconn8JXdhbN0oZbIjNmq5_wfGsM6bkSooc12IYSb3z727jDkmzTQrnbrFu-yxorlNpSd6TJSejtw_RR8/s640/ETUDE1914MarchSchradieck.jpg" width="640" /></a></div>
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<span style="font-family: "Bookman Old Style","serif";">[EDITOR’S
NOTE.—Among the many noted teachers of European birth who have made America
their home, <a href="http://en.wikipedia.org/wiki/Henry_Schradieck" target="_blank">Henry Schradieck</a>, has always been prominent, despite his naturally
retiring disposition.<span style="mso-spacerun: yes;"> </span>Born in Hamburg,
April 29<sup>th</sup>, 1846, the son of a violinist, his whole life has been
spent in music.<span style="mso-spacerun: yes;"> </span>In 1854 he became a
pupil of <a href="http://en.wikipedia.org/wiki/Hubert_L%C3%A9onard" target="_blank">Léonard</a> at the famous <a href="http://www.conservatoire.be/" target="_blank">Conservatory in Brussels</a>.<span style="mso-spacerun: yes;"> </span>At the end of four years of study under the
famous master he gained the first prize.<span style="mso-spacerun: yes;">
</span>In 1864 he became the Professor of Music at <a href="http://www.mosconsv.ru/" target="_blank">Moscow</a>, in the Conservatory
founded by <a href="http://en.wikipedia.org/wiki/Nikolai_Rubinstein" target="_blank">Nicholas Rubinstein</a>.<span style="mso-spacerun: yes;"> </span>In 1868
he became <a href="http://en.wikipedia.org/wiki/Leopold_Auer" target="_blank">Auer’s</a> successor as the <a href="http://en.wikipedia.org/wiki/Concertmaster" target="_blank">concertmeister</a> of the <a href="http://www.philharmoniker-hamburg.de/" target="_blank">Hamburg Philharmonic</a>.<span style="mso-spacerun: yes;"> </span>In 1874 he went to
Leipsic, where he was concertmeister of the <a href="http://www.gewandhaus.de/" target="_blank">Gewandhaus Orchestra</a>.<span style="mso-spacerun: yes;"> </span>His next appointment was at the <a href="http://ccm.uc.edu/" target="_blank">Cincinnati College of Music</a>, where he remained until 1889, when he went back to teach in
the <a href="http://www.hamburger-konservatorium.de/" target="_blank">Hamburg Conservatory</a> and act as concertmeister in the Hamburg
Philharmonic.<span style="mso-spacerun: yes;"> </span>But the call of the New
World was too strong and Schradieck returned to America to lead hundreds of
young American violinists in their educational journey, teaching in New York,
and at the <a href="http://en.wikipedia.org/wiki/Combs_College_of_Music" target="_blank">South Broad Street Conservatory</a> in Philadelphia.<span style="mso-spacerun: yes;"> </span>Mr. Schradieck is probably best known for his
widely used studies for violin.<span style="mso-spacerun: yes;"> </span>Among
Mr. Schradieck’s famous pupils are John Dunn, <a href="http://en.wikipedia.org/wiki/Maud_Powell" target="_blank">Maud Powell</a> and Geraldine
Morgan.]</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">A PEEP
AT SPOHR.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The child who is born with music on
all sides of him every day of his life hardly knows when his first musical
experiences commence.<span style="mso-spacerun: yes;"> </span>In my case, my
father was a most enthusiastic but exceptionally retiring and modest
musician.<span style="mso-spacerun: yes;"> </span>I can barely remember his
rejoicing when he first discovered that I possessed the faculty of absolute
pitch.<span style="mso-spacerun: yes;"> </span>Walking along the street with him
one day I heard a choral and was able to tell him the names of the notes being
sung.<span style="mso-spacerun: yes;"> </span>Then he tried me with his violin
and I responded correctly.<span style="mso-spacerun: yes;"> </span>Accordingly I
was introduced to music lessons at the age of four—earlier than most children
in America commence their school work.<span style="mso-spacerun: yes;">
</span>At five I gave a little concert, and at six I was able to play some of
the <a href="http://www.youtube.com/watch?v=SGW08zyweFg" target="_blank">duets for two violins</a> by <a href="http://en.wikipedia.org/wiki/Louis_Spohr" target="_blank">Spohr</a>.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>At that time Spohr had the importance
of a deity in my little life.<span style="mso-spacerun: yes;"> </span>He was one
of the great violinists and composers of the day, and his coming and going was
a matter of great consequence in all musical circles.<span style="mso-spacerun: yes;"> </span>Naturally when he was announced for a concert
in Hamburg my father was all excitement.<span style="mso-spacerun: yes;">
</span>Unselfish as he was, father did not think so much of meeting Spohr
himself as having me meet him.<span style="mso-spacerun: yes;"> </span>One fine
day we set out to go to Spohr’s hotel.<span style="mso-spacerun: yes;">
</span>At the outstart my father walked very briskly with the prospect of
meeting the great musician.<span style="mso-spacerun: yes;"> </span>Gradually,
his natural modesty got the better of him and as we approached the hotel I
noticed that he seemed to be going slower and slower.<span style="mso-spacerun: yes;"> </span>It must have taken a great deal of courage
for him to go in at all.<span style="mso-spacerun: yes;"> </span>Word came out
that the “General Music Director” (for that was Spohr’s awe-inspiring title)
was busily engaged in his room.<span style="mso-spacerun: yes;"> </span>Father
led me to the door of the room and then he bent down and looked through the
keyhole for a moment.<span style="mso-spacerun: yes;"> </span>After a time he
bade me do the same with the remark, “There, my boy, is the great composer,
violinist and General Music Director Spohr.”<span style="mso-spacerun: yes;">
</span>After this he took my hand and we trudged solemnly home.<span style="mso-spacerun: yes;"> </span>We had seen Spohr.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">A
FORTUNATE START.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>One day the celebrated violin virtuoso
<a href="http://en.wikipedia.org/wiki/Milanollo" target="_blank">Teresa Milanollo</a> visited Hamburg.<span style="mso-spacerun: yes;"> </span>At
that time she was one of the great players of the day.<span style="mso-spacerun: yes;"> </span>Now, comparatively little is heard of her,
but her life was one of beautiful romance.<span style="mso-spacerun: yes;">
</span>Together with the sister Maria, who unfortunately died at the age of
sixteen, she became one of the sensations of musical Europe.<span style="mso-spacerun: yes;"> </span>The Milanollo sisters were born in a little
Italian village near Turin.<span style="mso-spacerun: yes;"> </span>Their father
was a poor carpenter, with a family of thirteen children.<span style="mso-spacerun: yes;"> </span>He was wise enough to recognize the talent of
two of his daughters, and after giving them the best instruction he could
obtain in and about his own home the playing of the girls was so favorably
received that the father and the daughters set out on foot to journey over the
Alps to Paris.<span style="mso-spacerun: yes;"> </span>Hungry, half-frozen and
exhausted, they reached the city of light only to find that even there success
did not rush forth to greet all who passed through the portals of the great
city.<span style="mso-spacerun: yes;"> </span>But the talent of the girls was so
evident that they soon attracted wide attention.<span style="mso-spacerun: yes;"> </span>The playing of Teresa was characterized by
great emotional warmth, and she accordingly was known as Mademoiselle Adagio,
while the playing of her sister was sparkling and bright and she accordingly
was called Mademoiselle Staccato.<span style="mso-spacerun: yes;">
</span>Teresa studied for a time with <a href="http://en.wikipedia.org/wiki/Fran%C3%A7ois-Antoine_Habeneck" target="_blank">Habeneck</a> and <a href="http://en.wikipedia.org/wiki/Charles_Auguste_de_B%C3%A9riot" target="_blank">de <span style="mso-bidi-font-weight: bold;">Bériot</span></a>.<span style="mso-spacerun: yes;"> </span>She made a
fortuitous marriage, and her later years were spent in charitable
pursuits.<span style="mso-spacerun: yes;"> </span>She used to give concerts in
Lyons charging a large fee for admission.<span style="mso-spacerun: yes;">
</span>A few days later she would give a concert at which the poor of the city
were admitted without charge, and the earnings of the previous concert for the
rich were handed back to the poor in the shape of needed clothing and
food.<span style="mso-spacerun: yes;"> </span>One may imagine the halo that
surrounded such a personality, and when she played in my native town, my father
was very anxious to meet her.<span style="mso-spacerun: yes;"> </span>My father
was a member of the orchestra, and after the concert I went on the stage.<span style="mso-spacerun: yes;"> </span>With the curiosity of the boy, and much to my
father’s dismay, I picked up the great artist’s violin and commenced to play
upon it.<span style="mso-spacerun: yes;"> </span>Mme. Milanollo was extremely
kind and urged me to play more and more, and at the end took our breath way by
saying that she would defray the cost of my lessons with the great Léonard at
Brussels.<span style="mso-spacerun: yes;"> </span>We went to her hotel the next
day and arrangements were completed for the trip and she took me to Léonard and
paid my expenses for two years.<span style="mso-spacerun: yes;">
</span>Encouraged by her example, good friends of my father in Hamburg came to
the front and paid for two additional years so that I had the wonderful good
fortune to be under the great master of the violin for a sufficient time to
establish correct principles and mould my career for the future.<span style="mso-spacerun: yes;"> </span>Fortunately this came in my most
impressionable years when I was willing to lend myself to the advice of so
distinguished a musician as Léonard.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>Léonard was the successor of de Beriot
at the Brussels Conservatoire.<span style="mso-spacerun: yes;"> </span>As is
generally known, in addition to being a teacher he had been a distinguished
performer.<span style="mso-spacerun: yes;"> </span>In fact he was the first to
play the famous Mendelssohn violin concerto in Berlin under the direction of
the composer.<span style="mso-spacerun: yes;"> </span>He was an especially painstaking
teacher and remarkably thorough in certain branches of technic.<span style="mso-spacerun: yes;"> </span>He was noted for his wonderful playing of
arpeggios and staccato passages.<span style="mso-spacerun: yes;"> </span>His
right arm technic was nothing short of marvelous.<span style="mso-spacerun: yes;"> </span>In that day such technical studies as we know
them now were practically unknown or, perhaps we should say, little used.<span style="mso-spacerun: yes;"> </span>The pupil went to the master who had a
general idea of how his progress should be mapped out, and day after day he
tried harder and harder to excel in more difficult passages.<span style="mso-spacerun: yes;"> </span>Léonard was like a father to me.<span style="mso-spacerun: yes;"> </span>I was constantly under his care and every day
I learned something new. <span style="mso-spacerun: yes;"> </span>Although I was
one of the first to introduce studies in the modern sense of the term in the
literature of the violin, I nevertheless cannot help feeling that the whole
matter of studies is somewhat over-done.<span style="mso-spacerun: yes;">
</span>Given a teacher of the type of Léonard—a real master—and a pupil who
earnestly aspires to please that teacher in all things, and we have an ideal
combination.<span style="mso-spacerun: yes;"> </span>The teacher would have the
ability and consideration which would prompt him to compose special technical
studies for the deficiencies of the pupil.<span style="mso-spacerun: yes;">
</span>But there is only a Léonard here and there through the centuries, and
those less gifted must of course have material prepared for them.<span style="mso-spacerun: yes;"> </span>At least, that was the kind of a teacher I
found in Léonard.<span style="mso-spacerun: yes;"> </span>Later I went to
Leipsic where I studied under the great <a href="http://en.wikipedia.org/wiki/Ferdinand_David_%28musician%29" target="_blank">David</a>.<span style="mso-spacerun: yes;">
</span><a href="http://en.wikipedia.org/wiki/August_Wilhelmj" target="_blank">Wilhelmj</a> was in the same class and we lived under the same roof for a
considerable time.<span style="mso-spacerun: yes;"> </span>Boyhood friends, as
we then were, we dreamed of the future but saw little of what the future years
had in store for us.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";">RUSSIAN
EXPERIENCES.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>My first professional engagement was at
<a href="http://en.wikipedia.org/wiki/Bremen" target="_blank">Bremen</a>, where I was made concertmeister of the <a href="http://www.kammerphilharmonie.com/" target="_blank">Symphony orchestra</a> when I was
eighteen years of age.<span style="mso-spacerun: yes;"> </span>At the time a
rich Russian merchant was endeavoring to build up the musical life of Moscow
and an opportunity was made for me in that city in the conservatory founded by
Nicholas Rubinstein.<span style="mso-spacerun: yes;"> </span>I had the good
fortune to be one of the very first teachers.<span style="mso-spacerun: yes;">
</span>The language spoken was French, and as I had had a long experience in
that language with Léonard in Brussels I felt quite comfortable in going to
that city.<span style="mso-spacerun: yes;"> </span>I lived in the home of
Nicholas Rubinstein and his famous bother <a href="http://en.wikipedia.org/wiki/Anton_Rubinstein" target="_blank">Anton</a> came to visit his brother very
often, as did such artists as <a href="http://en.wikipedia.org/wiki/Ferdinand_Laub" target="_blank">Laub</a> and <a href="http://en.wikipedia.org/wiki/Henryk_Wieniawski" target="_blank">Wieniawski</a>.<span style="mso-spacerun: yes;"> </span>Anton Rubinstein played indefatigably every
day.<span style="mso-spacerun: yes;"> </span>I can see him now with a cigarette
in his mouth working industriously at the keyboard.<span style="mso-spacerun: yes;"> </span>Indeed he would play for two or three hours
at a time.<span style="mso-spacerun: yes;"> </span>Nicholas Rubinstein’s playing
was in some ways much surer than that of Anton, but it lacked the warmth that
the genius of Anton brought into everything he did.<span style="mso-spacerun: yes;"> </span>Rubinstein had a way of forming his exercises
from the difficult passages in the pieces he played.<span style="mso-spacerun: yes;"> </span>These he would repeat time and again until a
certain passage went right.<span style="mso-spacerun: yes;"> </span>Not every
one has the inventive skill to do this, and there must of course be books of
exercises for many, but for a Rubinstein any other course would have been
inconceivable after the foundation work in finger exercises, scales, arpeggios
and octaves has been passed.</span></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>It was at this time that <a href="http://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky" target="_blank">Tchaikowsky</a>
came to Moscow as a very young and very talented man.<span style="mso-spacerun: yes;"> </span>How little one may look into the future.<span style="mso-spacerun: yes;"> </span>While we all realized that the Russian was
unusual in his work there was hardly one there who would have predicted that he
ever would have been ranked with the great masters.<span style="mso-spacerun: yes;"> </span>This was in a large measure due to his great
modesty. <span style="mso-spacerun: yes;"> </span>Although he was very genial his
whole demeanor was so quiet and retiring that far too little notice was given
to him.<span style="mso-spacerun: yes;"> </span>He had just completed his
studies and became the teacher of theory at the conservatory.<span style="mso-spacerun: yes;"> </span>He also lived for a time at the home of
Nicholas Rubinstein.<span style="mso-spacerun: yes;"> </span>He worked day and
night, and for this reason kept pretty much to himself.<span style="mso-spacerun: yes;"> </span>He had great ideals and great ideas.<span style="mso-spacerun: yes;"> </span>Generous in all other things, he was somewhat
selfish with the time required to work them out.<span style="mso-spacerun: yes;"> </span>His first symphony was produced at Moscow,
and while it attracted favorable attention he had yet to convince the musical
world that he was a composer of first rank.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVfaBdrUAizORAx-Y0NOiT13hFSJG74BmHV7kDYmyYTPJfg_sv0mNvJwPjnWfZNxag9xsM0MTUm51UJmaZLM7ZEdUbRKJL32h0qNsrG4uVY8dvmytwKtuZj4D178tgI1GCWKQeRPmvOfO/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVfaBdrUAizORAx-Y0NOiT13hFSJG74BmHV7kDYmyYTPJfg_sv0mNvJwPjnWfZNxag9xsM0MTUm51UJmaZLM7ZEdUbRKJL32h0qNsrG4uVY8dvmytwKtuZj4D178tgI1GCWKQeRPmvOfO/s640/divider.jpg" width="640" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Bookman Old Style","serif";"> Enjoy Tchaikowsky's first symphony, peformed by the <a href="http://en.wikipedia.org/wiki/State_Academic_Symphony_Orchestra_of_the_Russian_Federation" target="_blank">State Symphony Orchestra (USSR)</a>, </span><!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><a href="http://en.wikipedia.org/wiki/Yevgeny_Svetlanov" target="_blank">Evgeny Svetlanov</a>, conducting:</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>In 1868 I went to Hamburg as concert
master of the Philharmonic, as the successor of Leopold Auer, who then went to
St. Petersburg as the successor of <a href="http://www.wieniawski.com/" target="_blank">Wieniawski</a>, where he later became the
teacher of <a href="http://en.wikipedia.org/wiki/Mischa_Elman" target="_blank">Mischa Elman</a> and other successful violinists of the present day.</span></div>
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<![endif]--><a href="http://en.wikipedia.org/wiki/Anton%C3%ADn_Dvo%C5%99%C3%A1k" target="_blank"><span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Dvořák</span></a><span style="font-family: "Bookman Old Style","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="http://en.wikipedia.org/wiki/Anton%C3%ADn_Dvo%C5%99%C3%A1k%20" target="_blank">'s</a> <i>"Humoresque"</i> and <a href="http://en.wikipedia.org/wiki/Fran%C3%A7ois_Joseph_Gossec" target="_blank">Gossec's</a> <i>"Gavotte"</i>:</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/31uJT2IKsR0?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-family: "Bookman Old Style","serif";"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVfaBdrUAizORAx-Y0NOiT13hFSJG74BmHV7kDYmyYTPJfg_sv0mNvJwPjnWfZNxag9xsM0MTUm51UJmaZLM7ZEdUbRKJL32h0qNsrG4uVY8dvmytwKtuZj4D178tgI1GCWKQeRPmvOfO/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVfaBdrUAizORAx-Y0NOiT13hFSJG74BmHV7kDYmyYTPJfg_sv0mNvJwPjnWfZNxag9xsM0MTUm51UJmaZLM7ZEdUbRKJL32h0qNsrG4uVY8dvmytwKtuZj4D178tgI1GCWKQeRPmvOfO/s640/divider.jpg" width="640" /></a></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>I remember one incident in connection
with the life of Richard Wagner which may be interesting to ETUDE readers.<span style="mso-spacerun: yes;"> </span>Wagner made numerous tours for the purpose of
gaining additional support in his great project at Bayreuth.<span style="mso-spacerun: yes;"> </span>He appeared in Hamburg as a conductor.<span style="mso-spacerun: yes;"> </span>In playing the violin part of this <i style="mso-bidi-font-style: normal;">Magic Fire</i> music from <i style="mso-bidi-font-style: normal;">Die Walkure</i> I had great difficulty in
keeping the violins together as a body.<span style="mso-spacerun: yes;">
</span>I thought to myself, “How can anyone write music which is next to
impossible to play rightly and at the same time keep in touch with
others.”<span style="mso-spacerun: yes;"> </span>I evidently expressed my
discomfort with a frown.<span style="mso-spacerun: yes;"> </span>Wagner turned
quickly and noted my expression.<span style="mso-spacerun: yes;">
</span>Although I could barely see him I had the feeling that all people have
when they are conscious of being observed.<span style="mso-spacerun: yes;">
</span>Finally Wagner broke out, “Why are you making such a hostile, angry
face?”<span style="mso-spacerun: yes;"> </span>I explained the difficulty and he
laughed it away with the remark, “Don’t try to get it exactly as it is
written.<span style="mso-spacerun: yes;"> </span>I never expected that when I
wrote it.<span style="mso-spacerun: yes;"> </span>I strive for effects.<span style="mso-spacerun: yes;"> </span>Play this passage with slight irregularity
and it will give just the shimmering effect that I desire.<span style="mso-spacerun: yes;"> </span>It is not how it sounds to you but how it
will sound at the back of the auditorium that will count.”</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVfaBdrUAizORAx-Y0NOiT13hFSJG74BmHV7kDYmyYTPJfg_sv0mNvJwPjnWfZNxag9xsM0MTUm51UJmaZLM7ZEdUbRKJL32h0qNsrG4uVY8dvmytwKtuZj4D178tgI1GCWKQeRPmvOfO/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVfaBdrUAizORAx-Y0NOiT13hFSJG74BmHV7kDYmyYTPJfg_sv0mNvJwPjnWfZNxag9xsM0MTUm51UJmaZLM7ZEdUbRKJL32h0qNsrG4uVY8dvmytwKtuZj4D178tgI1GCWKQeRPmvOfO/s640/divider.jpg" width="640" /></a></div>
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<span style="font-family: "Bookman Old Style","serif";"> Enjoy <a href="http://en.wikipedia.org/wiki/Bryn_Terfel" target="_blank">Bryn Terfel's</a> performance of the <i>"Magic Fire"</i> music from Wagner's <i>"<a href="http://en.wikipedia.org/wiki/Die_Walk%C3%BCre" target="_blank">Die Walkure</a>"</i>:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVfaBdrUAizORAx-Y0NOiT13hFSJG74BmHV7kDYmyYTPJfg_sv0mNvJwPjnWfZNxag9xsM0MTUm51UJmaZLM7ZEdUbRKJL32h0qNsrG4uVY8dvmytwKtuZj4D178tgI1GCWKQeRPmvOfO/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVfaBdrUAizORAx-Y0NOiT13hFSJG74BmHV7kDYmyYTPJfg_sv0mNvJwPjnWfZNxag9xsM0MTUm51UJmaZLM7ZEdUbRKJL32h0qNsrG4uVY8dvmytwKtuZj4D178tgI1GCWKQeRPmvOfO/s640/divider.jpg" width="640" /></a><span style="font-family: "Bookman Old Style","serif";"> </span></div>
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<span style="font-family: "Bookman Old Style","serif";"></span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>After six years I went to Leipsic to
take the place of David at the Conservatory and as Concertmeister of the
Gewandhaus Orchestra under <a href="http://en.wikipedia.org/wiki/Carl_Reinecke" target="_blank">Reinecke</a>.<span style="mso-spacerun: yes;"> </span>The
great orchestra frequently played in the theatre, and with it all I was badly
overworked and had to give up part of my duties at the end of the year.<span style="mso-spacerun: yes;"> </span>One of the most gratifying experiences one
may have in Leipsic is the opportunity to meet distinguished musicians.<span style="mso-spacerun: yes;"> </span>Now and then I see all of the famous faces
passing before me and the recollection of great personalities is certainly one
of the most pleasant of all experiences.</span></div>
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<span style="font-family: "Bookman Old Style","serif";">THE PROMISE
OF AMERICA.</span></div>
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<span style="font-family: "Bookman Old Style","serif";"><span style="mso-tab-count: 1;"> </span>The promise of musical America is
indescribably great.<span style="mso-spacerun: yes;"> </span>I say promise,
because, with all the achievements of recent years, all the fine operative
performances, symphony orchestras, schools, publishers, contributing to
American musical progress we are still only at the beginning of America’s
musical greatness.<span style="mso-spacerun: yes;"> </span>No other country is
so cosmopolitan in its scope or in it ideals.<span style="mso-spacerun: yes;">
</span>All the world looks to America for great deeds, strong men and women in
all arts and professions, generous support of high ideals and constant activity
in all directions.<span style="mso-spacerun: yes;"> </span>Europe is gradually
being relieved of the idea that America is purely a “dollarland.”<span style="mso-spacerun: yes;"> </span>In addition to the immense contribution of
money being constantly made for musical development in America there is
something better.<span style="mso-spacerun: yes;"> </span>Thousands of students
are devoting their lives to music, and still more thousands of amateurs are
giving their time and energy to music, just for the joy they find in it.<span style="mso-spacerun: yes;"> </span>Were it not for this desire to study music,
to find out more about it, to make one’s self accomplished in singing or the
performance of some instrument, American music would be in a sad state.<span style="mso-spacerun: yes;"> </span>Of course one takes a national pride in the
appearance of a new and great virtuoso or a brilliant composer, but after all the
musical strength of a nation is in the number of skilled music lovers who take
a little time from their daily work to devote to music, and who will see that
their children have the benefit of a thorough musical training along the lines
of the highest principles of the art.<span style="mso-spacerun: yes;"> </span>I
have lived in America a score of years.<span style="mso-spacerun: yes;">
</span>It is my home and naturally I am anxious to see nothing left undone to
promote American musical ideals.</span></div>
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<br /></div>
<div class="MsoNormal">
<i>by Henry Schradieck<a href="https://en.wikipedia.org/wiki/Robert_Stanley_Weir" target="_blank"> </a></i></div>
THE ETUDE MUSIC MAGAZINE – March 1914 <div class="MsoNormal">
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Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-69194518432559810982013-05-18T16:51:00.000-07:002013-05-18T16:51:46.342-07:00Packer's Tar Soap<div class="separator" style="clear: both; text-align: center;">
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THE ETUDE MUSIC MAGAZINE – August 1903 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-62753061811349862032013-05-17T09:34:00.001-07:002013-05-17T13:40:15.813-07:00The Boy Mendelssohn<div class="separator" style="clear: both; text-align: center;">
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Now I am going to tell you the story of one of the happiest boys
that ever lived, <a href="http://en.wikipedia.org/wiki/Felix_Mendelssohn" target="_blank">Felix Mendelssohn</a>.<span style="mso-spacerun: yes;"> </span>In
the first place, when he came into this world, in a German city named <a href="http://en.wikipedia.org/wiki/Hamburg" target="_blank">Hamburg</a>,
in the same year that Frederic Chopin was born, 1809, his parents named him “Felix”
because this means <i style="mso-bidi-font-style: normal;">happy</i>.<span style="mso-spacerun: yes;"> </span>So I think his parents’ dearest wish for him
was that he should be happy, and certainly happiness was the good fairy’s
birthgift to him, for you will find that no one ever thinks of writing about
Felix Mendelssohn without telling in the very first place about what a happy
boy he was.</div>
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<span style="mso-tab-count: 1;"> </span>He was
a very handsome boy too, but that did not amount to much; at least his
music-teacher did not allow it to, for he had a very wise old teacher named
<a href="http://en.wikipedia.org/wiki/Carl_Friedrich_Zelter" target="_blank">Zelter</a>, who knew a vast amount about music—and abhorred vanity.<span style="mso-spacerun: yes;"> </span>He taught his pupils all about the science of
music, but he also taught them that along with being musicians they must be <i style="mso-bidi-font-style: normal;">men</i>.<span style="mso-spacerun: yes;">
</span>Herr Zelter himself was a stonemason as well as a musician, and every
day he worked some at his trade, “for,” said he, “every man should work some
with his hands,” and he carried out his belief by laboring among the
stones.<span style="mso-spacerun: yes;"> </span>This good teacher it was who
kept Felix from the weakness of being vain, either over his personal beauty or
his great talent, even thought he was a most remarkable boy and developed early
a most wonderful talent.</div>
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<span style="mso-tab-count: 1;"> </span>Felix’s
mother taught him to love work, keeping him and his sister <a href="http://en.wikipedia.org/wiki/Fanny_Mendelssohn" target="_blank">Fanny</a> busy at their
studies from 5 o’clock in the morning until bedtime.<span style="mso-spacerun: yes;"> </span>This made them really enjoy holidays when
they came, making holidays as much fun in proportion as their working days had
been serious.</div>
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<span style="mso-tab-count: 1;"> </span>They
studied many things besides the “three R’s” and music.<span style="mso-spacerun: yes;"> </span>Felix learned to be quite an artist and to
love botany.<span style="mso-spacerun: yes;"> </span>He read Italian and Greek
with his sisters and practiced jumping and ran races with his chums, but best
of all was music.<span style="mso-spacerun: yes;"> </span>Here lay his greatest
talent, and many wonderful accounts have been written of his playing,
improvising, and composing when a boy.<span style="mso-spacerun: yes;">
</span>When he was 12 years old he had written two operettas, five symphonies,
a cantata, two pieces for the piano, four for the organ, one for violin, and
three songs, “besides,” one biographer says, “a multitude of smaller pieces.”<span style="mso-spacerun: yes;"> </span>These are still preserved in the library at
Berlin, Germany, to show what a little child may do.</div>
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<span style="mso-tab-count: 1;"> </span>On
every one of these pieces written when Mendelssohn was a child, as well as on
his later compositions, are to be seen three initials “H. D. M.”<span style="mso-spacerun: yes;"> </span>They stand for three German words <i style="mso-bidi-font-style: normal;">Hilf Du Mir</i>, meaning <i style="mso-bidi-font-style: normal;">Help Thou Me,</i>—a little prayer to God at
the beginning of every task, showing how well the child had learned the lesson
that no one of us must undertake any lightest duty without first asking God’s
aid.<span style="mso-spacerun: yes;"> </span>(I wonder how many of the little
readers of The Etude send up some such little prayer at the beginning of the
practice hour.)</div>
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<span style="mso-tab-count: 1;"> </span>These
are some of the things which helped to make Mendelssohn a happy boy:<span style="mso-spacerun: yes;"> </span>being always industrious, being always a good
boy, and being kept from vanity.</div>
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<span style="mso-tab-count: 1;"> </span>Of
course he was tempted to be vain and to think a great deal of himself and his
accomplishments.<span style="mso-spacerun: yes;"> </span>He used to get an
orchestra together (they used to have musicales at his house every Sunday) for
the purpose of practicing the music which he had composed, and he would stand
up on a chair conducting the playing of musicians much bigger and older than
himself, with his long brown curls bobbing around a face as solemn and
important as an owl’s, while fond relatives and friends sat around and said
pretty, admiring things about him.<span style="mso-spacerun: yes;"> </span>Enough
to make any boy vain.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19VGocR0YOSD6dgrNtcPsi6f5WHHxy4BPDg5ViXPtcQnFOWqVE6Bh7W1HrnaWxH850tkfL8z2PtOrVy1H34BuG9HaWkc86hTG9k5-4h321LqOaNzNKMaBDSxykYz5TkQENq_CQXesBPsu/s1600/ETUDE1904OctoberChildrensPageMendelssohnpic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19VGocR0YOSD6dgrNtcPsi6f5WHHxy4BPDg5ViXPtcQnFOWqVE6Bh7W1HrnaWxH850tkfL8z2PtOrVy1H34BuG9HaWkc86hTG9k5-4h321LqOaNzNKMaBDSxykYz5TkQENq_CQXesBPsu/s400/ETUDE1904OctoberChildrensPageMendelssohnpic.jpg" width="400" /></a></div>
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<span style="mso-tab-count: 1;"> </span>Then
Herr Zelter would come in and say, “Tut, tut, you’re making a Miss Nancy of the
boy,” and threaten that he would never give the boy another lesson if they did
not stop spoiling him.<span style="mso-spacerun: yes;"> </span>He would find all
manner of faults in the music which Felix had been so confidently conducting,
and the boy would have to jump down from his elevated position and sit humbly
down to desk or piano to work harder than before, for he found that it was
really more worthwhile to gain one word of praise from the great master than
whole volumes of flattery from anyone else.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>This
Master Zelter brought Felix to visit an old friend of his, one <a href="http://en.wikipedia.org/wiki/Johann_Wolfgang_von_Goethe" target="_blank">Goethe</a>, greatest
of German poets, and Goethe became a lifelong friend, teaching him many
things.<span style="mso-spacerun: yes;"> </span>When he grew up Mendelssohn set
to music Goethe’s poem, the “Walpurgis Nights.”</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcnLHDEeAUJ1m-iz1uHyOpkNKl7QHmOYuWdt1Hv5ccWrto7H2MPrHkSe_2OHp1yNPz-o5BKsWDKBfnbHccRPZtvQJ_vDi6mNffejh1HB0ReSUC4ZGduVrpNQJBX1ZUiX0HMcTqKs6elLNN/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcnLHDEeAUJ1m-iz1uHyOpkNKl7QHmOYuWdt1Hv5ccWrto7H2MPrHkSe_2OHp1yNPz-o5BKsWDKBfnbHccRPZtvQJ_vDi6mNffejh1HB0ReSUC4ZGduVrpNQJBX1ZUiX0HMcTqKs6elLNN/s640/divider.jpg" width="640" /></a></div>
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<![endif]--><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="http://www.rosmarba.com/" target="_blank">Antoni
Ros </a><span style="mso-bidi-font-weight: bold;"><a href="http://www.rosmarba.com/" target="_blank">Marbà</a>, conducting) of</span></span> Mendelssohn's <i>"Walpurgisnacht"</i>:</div>
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<span style="mso-tab-count: 1;"> </span>Another
lifelong friend of Mendelssohn’s was Shakespeare, who, though he had been dead
for many years, yet seemed a living, breathing reality to the boy, so that he
said that as a child he fairly <i style="mso-bidi-font-style: normal;">lived</i>
in Shakespeare’s “Midsummer Nights’ Dream” – and seemed to breath in the very
essence of its spirit.<span style="mso-spacerun: yes;"> </span>To this, also, he
made beautiful music.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Mendelssohn
loved whatever was sweet and dainty, wholesome and holy, and these tastes grew
with him to manhood, so that his best work was in delicate things like the “Midsummer
Night’s Dream” and the “Songs Without Words,” and in his religious writings,
the oratorios, anthems, etc.</div>
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Enjoy Mendelssohn's Overture to <i>"Midsummer Night's Dream"</i> performed by the <a href="http://en.wikipedia.org/wiki/Leipzig_Gewandhaus_Orchestra" target="_blank">Leipzig Gewandhaus Orchestra</a>, <a href="http://en.wikipedia.org/wiki/Kurt_Masur" target="_blank">Kurt Masur</a> conducting:<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></div>
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<span style="mso-tab-count: 1;"> </span>Also he
kept his childish taste for sweets in a real sense, for a friend of his,
telling about a festival at which Mendelssohn conducted one of his own
oratorios, says that he conductor’s desk was “garlanded with flowers,” and that
beside his music was a package of sweetmeats from which he helped himself anon
with his left hand, while with his right he conducted.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>He was
very dainty and nice about his personal appearance, too.<span style="mso-spacerun: yes;"> </span>After he grew too old to wear long, brown
curls he went to London and cultivated a small and curly beard, which he wore
in a very modified imitation of a fashion then known in England as “Piccadilly
weepers.”</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Mendelssohn
was successful because, although he was of a wealthy family, lived in a beautiful
house, with a “Garden House” where Felix and his sisters used to “run a
newspaper,” and could travel whither he would, he was always industrious.<span style="mso-spacerun: yes;"> </span>He used to carry a portable piano about with
him when traveling and practice on trains and coaches, and he wrote music in
all sorts of places and under many and various circumstances.<span style="mso-spacerun: yes;"> </span>He was industrious.<span style="mso-spacerun: yes;"> </span>Add to the fact that he was good, and you
have the whole and entire reason for his success.<span style="mso-spacerun: yes;"> </span>There is no better combination than virtue
and industry.</div>
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>If
you wish to know about Mendelssohn after he grew up read <a href="http://en.wikipedia.org/wiki/W._S._Rockstro" target="_blank">Rockstro’s</a> “Life of
Mendelssohn” in the “Great Musicians Series.”</span><br />
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<![endif]--><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Enjoy
of one of Mendelssohn’s <i>"Song Without Words"</i> (Opus 109), performed by <a href="http://en.wikipedia.org/wiki/Jacqueline_du_Pr%C3%A9" target="_blank">Jacqueline</a>
and <a href="http://en.wikipedia.org/wiki/Iris_du_Pr%C3%A9" target="_blank">Iris du <span style="mso-bidi-font-weight: bold;">Pré</span></a>:</span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/0UE7lIGg7HU?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"></span><br />
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<i>by Helena Maguire<a href="http://en.wikipedia.org/wiki/Edvard_Grieg" target="_blank"></a><a href="https://en.wikipedia.org/wiki/Robert_Stanley_Weir" target="_blank"> </a></i></div>
THE ETUDE MUSIC MAGAZINE – October 1904
Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-30675064773232984142013-05-16T04:24:00.003-07:002013-05-16T04:24:55.886-07:00World's Largest Steamships<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP8AzWCiWmDeH0M3JcN6W3svXbJj54_hL7VPRcAxdZx30Lzzr08F4y8GOUxSKk46djNRIJii9zcetRBUqsp1rRC3LSLIVb45d5QzlfhUJ-4w8e1pswmwb_FPb_VNoS8DoENZXqDVVBylLC/s1600/ETUDE1914Marchcruiseshipad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP8AzWCiWmDeH0M3JcN6W3svXbJj54_hL7VPRcAxdZx30Lzzr08F4y8GOUxSKk46djNRIJii9zcetRBUqsp1rRC3LSLIVb45d5QzlfhUJ-4w8e1pswmwb_FPb_VNoS8DoENZXqDVVBylLC/s640/ETUDE1914Marchcruiseshipad.jpg" width="440" /></a></div>
THE ETUDE MUSIC MAGAZINE – March 1914 Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0tag:blogger.com,1999:blog-8046327800869806948.post-48033429963293469782013-05-14T17:49:00.002-07:002013-05-15T04:13:40.966-07:00Miserere<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Lg5jtfpsAaqmoK_4fSbS4YLKQBLPrm1IvPNIQhTze1k-ah__i7mrlAVdAPPSNEPQu_RrspTPG0GH8WNuB4AvyBnsjKHwhBFfH5bfqBhm9kasH9Nb4nPVbfppXvU1i1LbnRcVAD2FOEQ3/s1600/ETUDE1929Marchmiserere.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Lg5jtfpsAaqmoK_4fSbS4YLKQBLPrm1IvPNIQhTze1k-ah__i7mrlAVdAPPSNEPQu_RrspTPG0GH8WNuB4AvyBnsjKHwhBFfH5bfqBhm9kasH9Nb4nPVbfppXvU1i1LbnRcVAD2FOEQ3/s640/ETUDE1929Marchmiserere.jpg" width="634" /></a></div>
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<span style="font-size: small;"><span style="color: black; font-family: "Baskerville Old Face";">The
slow bell tolls, the hidden chorus chants. . . . Under the frowning walls a young girl lifts
her face. She calls. Her lover answers from his cell. Clear and enrapt the questioning voices rise
. . . tender . . . poignant . . . </span><span style="color: black; font-family: "Baskerville Old Face";"> </span><span style="color: black; font-family: "Baskerville Old Face";">burdened with grief
and longing. They swell and mingle in a
long farewell. They fade. The poison claims her.</span></span></div>
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<span style="font-size: small;"><span style="color: black; font-family: "Baskerville Old Face";"> </span><span style="color: black; font-family: "Baskerville Old Face";"> There are few people in the civilized world
today who are not, in a measure at least, familiar with the “Miserere” from </span><span style="color: black; font-family: "Baskerville Old Face"; font-style: italic;"> <a href="http://en.wikipedia.org/wiki/Il_trovatore" target="_blank">Il </a></span><a href="http://en.wikipedia.org/wiki/Il_trovatore" target="_blank"><span style="color: black; font-family: "Baskerville Old Face"; font-style: italic;">Trovatore</span></a><span style="color: black; font-family: "Baskerville Old Face";">. For this scene,
set like a jewel in the florid libretto of this gorgeous old opera, is
genuinely moving, melodically superb. . . .
The music finds <a href="http://en.wikipedia.org/wiki/Giuseppe_Verdi" target="_blank">Verdi</a> at his best, a natural master of the lyric
line. It is the sort of thing that one
remembers.</span></span></div>
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<span style="font-size: small;"><span style="color: black; font-family: "Baskerville Old Face";"> The “Miserere” from </span><span style="color: black; font-family: "Baskerville Old Face"; font-style: italic;">Il </span><span style="color: black; font-family: "Baskerville Old Face"; font-style: italic;">Trovatore</span><span style="color: black; font-family: "Baskerville Old Face";">
has recently been recorded on <a href="http://en.wikipedia.org/wiki/Victor_Talking_Machine_Company" target="_blank">Victor Red Seal Records</a> by <a href="http://en.wikipedia.org/wiki/Rosa_Ponselle" target="_blank">Rosa Ponselle</a> and </span><a href="http://en.wikipedia.org/wiki/Giovanni_Martinelli" target="_blank"><span style="color: black; font-family: "Baskerville Old Face";">Martinelli</span></a><span style="color: black; font-family: "Baskerville Old Face";">,
of the <a href="http://www.metoperafamily.org/" target="_blank">Metropolitan Opera Company</a>, with the full Metropolitan Chorus and
Orchestra. It is marvelously clear,
marvelously realistic. The </span><a href="http://en.wikipedia.org/wiki/Victor_Orthophonic_Victrola" target="_blank"><span style="color: black; font-family: "Baskerville Old Face";">Orthophonic</span></a><span style="color: black; font-family: "Baskerville Old Face";"><a href="http://en.wikipedia.org/wiki/Victor_Orthophonic_Victrola" target="_blank"> Process</a> has captured every breath and nuance of their art.</span></span></div>
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<span style="font-size: small;"><span style="color: black; font-family: "Baskerville Old Face";"> </span><span style="color: black; font-family: "Baskerville Old Face";"> The foremost artists, the leading orchestras,
the most beautiful and important compositions, are always at your command on
Victor Red Seal Records . . . That distinguished collection of interpretations,
by recognized masters, which is Victor’s permanent contribution to the good
music of the world. . . . <a href="http://en.wikipedia.org/wiki/Victor_Talking_Machine_Company" target="_blank">Victor TalkingMachine Company</a>, Camden, New Jersey, U.S.A.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9lbSyN_cKxa-ipU1SXoo1JYoHyp-7VuJYtQHkzpnE5aJQKRB8MjUajgk9HsGhS5uFCiuKUpWZndOsufV6iRXZtq_qxcEQ0KQtCpzslhDorOz-yhsRwFGszF2ccihgEPVIObBWC2b6xQJA/s1600/ETUDEvictor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="84" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9lbSyN_cKxa-ipU1SXoo1JYoHyp-7VuJYtQHkzpnE5aJQKRB8MjUajgk9HsGhS5uFCiuKUpWZndOsufV6iRXZtq_qxcEQ0KQtCpzslhDorOz-yhsRwFGszF2ccihgEPVIObBWC2b6xQJA/s640/ETUDEvictor.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7wOpbWrF9dx7Kc-XgYsBQI6yRaM37RqRInc7DLjnmpKfbu4hiopxr1-WXo2kJ7eOAnBIKcje2gwFGYrNZH-9ht_AyPEYMIh10s8R-GStiCde_Tx6PXw29gxti-4QxFK0esA6CadKpUE9K/s1600/divider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7wOpbWrF9dx7Kc-XgYsBQI6yRaM37RqRInc7DLjnmpKfbu4hiopxr1-WXo2kJ7eOAnBIKcje2gwFGYrNZH-9ht_AyPEYMIh10s8R-GStiCde_Tx6PXw29gxti-4QxFK0esA6CadKpUE9K/s640/divider.jpg" width="640" /></a></div>
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<span style="font-size: small;"><span style="color: black; font-family: "Baskerville Old Face";">Enjoy listening to the January 23, 1928 recording of Rosa Ponselle and Giovanni Martinelli's performance of the "Misrerere" from Verdi's <i>Il Trovatore</i>:</span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/FADYcCq76ag?feature=player_embedded' frameborder='0'></iframe></div>
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THE ETUDE MUSIC MAGAZINE – March 1929<span style="color: black; font-family: "Baskerville Old Face"; font-size: 10pt;"> </span></div>
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Jesshttp://www.blogger.com/profile/00823638508510339661noreply@blogger.com0