Sacramento daily record-union., 1889-09-22
AN AMERICAN SCHOOL OF MUSIC.

Mr.. Anton Seidl, the operate compose,
and director, is out in the New York Her.
aid with plan for the foundation of a
National School of Music and the develop.
ment of American Grand Opera. He
holds that as our national taste is still un.
prejudiced we have a fresh field of recep-
tive minds. He would have no great sum
of money expended, no elaborate buildings
or apparatus, but simply faculty of mu-
sical directors of eminence, with a corps
of assistants and a literary instructor.
There would be selected twelve of the
most advanced singers of America, six men
and six women, to be trained. At the end
Of each SIX months these should produce
an English Opera. This is a very interest
ing scheme. As Seidl says:
England began lately TO work on the same
lines. 1t has produced musicians who are alb c
70 compose English operas which were put upon
the stage. There is Carl Rosa, who has great
merit When he began to train talented young
artists for grand opera he commenced with for
eign operas with good English translations BY
and oy he brought out genuine English operas.
The music schools in England are very good,
aud there are many of them. But those who
awe not sufficient confidence in their own
schools go to Germany 10 study. There they
find out that the most important parts of haf-
mony lie in the music OF Germany In Ger
many they hear everything that is good; they
go back 10 England thoroughly well educated
aud begin TO compose in first class style There
are many good orchestras in England which af.
-Aesa eFFeftfRstS feF the production Of native
music: and that is the best and the only way to
educate composers. Englishmen have made
great progress In composition, and If they keep
up their work and their study they will in a
snort time. attain the same standard in the
world OF music as the Russians have done
through their operas. Russian music is older
than the English, and stands higher. The Rus
sian repertoire is greater and more varied.
But to return To America. Until now the coun-
Try has had little time to devote TO the arts and
has employed all its energies in the necessary
pursuits Of life. Germany, France and Italy
nave haq 200 years of musical study and cui-
ture. The study of music in this country Is OF
recent origin. Perhaps this Is q rood thing for
us musieai future. On that account the iudg-
ceptive facilities are in full yigor and they viii
be able TO appreciate good native music when
II comes; Already the Judgment Of the people
Is OF high standard.
The Metropolitan Opera House. New York. Is
an important factor in this matter aud under
guidance will educate the musical taste WHY
should we not have in English what is given
there in German? By all means let German
opera continue, but at the same time let the
preparation for English opera go on The time
ls ripe Tor opera IN English, but when we have
SHOWN that we are able TO educate composers
and when they have reached the highest stand.
srd OF excellence in the production of native
works, then, and not till then, will it be time
enough to talk about national opera" as Il Is
II Russia and as it will be in England
There are a good many talented musicians in
this country who could be educated by listening
p Sne best dramatic aud orchestral mrsic'
But what we must have here Is an opera school
70 eoScate singers for grand opera In English
True, We have had one venture here in grand
opera, In English, and 81, 900 900 were spent on
II without any practical results so far as Enrlish
music is concerned. That is to be regretted:
the enterprise was not handled in the right
way. We cannot have opera in English with
out preparing students for it, and what has
beeu 3ne in this way so far has been only
from business point of view.
So far as the production of English
grand opera is concerned, we believe the
scheme of Seidl will "work ? all that is
needed is money enough behind it to in