Morning journal and courier., 1891-07-02
THE MUSICAL CONVENTION.

The second annual convention of the
State Music Teachers association has
scored notable success, and the associa-
ton is correspondingly grati6ed and en-
couraged, while the waves of influence in
behalf of the further popularization and
appreciation of music that emanate from
musical centers will, it is felt, be highly
beneficial. The interest awakened is seen
in the fact which was learned last evening,
viz, that the membership of the associa-
ton has increased by nearly 300 this week,
or from about $50 to 1870. The culminat-
ing event, the grand concert by the Gounod
society, assisted by the Germania orchestra
of Boston, is spoken of below, and was a
most creditabte and brilliant wind up to
the three days events. Bridgeport, where
tho next annual convention will be held,
will strive to Guido New Haven and Hart
ford in its reception to the association.
The association has come out ahead also
financially, having with the receipts of last
evenings sale taken in sufficient to meet
the 81, 900 expense incurred in giving it's
musical and other events here.
The last day of the convention was
opened at 9 O'Clock with the reading at the
Hyperion of o paper on ''The Historical
Significance of Choral Societies." by Presi-
dent N. H. Allen of Hartford.
A summary. Of his paper is as follows:
propose in the brief time allotted me to
consider this modern institution, the Choir
al society, and chiefly in relation to the
place and power of the amateur in the
march of musical progress.
Firt, then, where did it originated Nat
urally in the land where there was the most
sincerity and art. Karl Fasca, q musician
in the service of Frederick the Great, was
engaged about 1889 in writing a 16-part
mass in the old italian style, and invited
his pupils and few musical friends to
meet at a private dwelling in Ber-
they were finished. The little band
found great pleasure in this, but as there
were not many more singers than parts
to be sung, Fasch soon laid aside his
own work, and connected himself for a
time to four-psrt choruses. Other friends
came in, some professionals, until the par
lors were too small, and public room
was secured. There was scarcely thought
then of public performance, but as Fasch
had guided the little chorus along, had
kent minute record of attendance and
events, and as all indications pointed to a
permanency that had not been anticipated,
what more natural that at the end of two
years the proposition should be made to
establish board of directors, and create a
society in due form. This was done in
1891, Just hundred years ago, and thus
| was founded the Berlin Singakademie,
whose subsequent history is record of
unremitting effort and glorious achieve
| ment; and thus was door opened through
which thousands have since passed, to
broader and loftier views of art, ito an in
| timacy with it's master works, and with
| these to new phases of life, culture and
pleasure.
We are on the threshold of the twenti-
eth century, and before we cross it hope
every city in the land may have it's Jepson,
and in a few years we may fling back the
insinuation that we are not musical peo-
pie.
1t may seem anomalous when I state as
fact that two of the best choral societies
in this state are in cities where music has
not been taught in the public schools, but
I would utter this word of warning to the
citizens who are proud of these choral
societies, that their permanency is en-
dangered unless all the children in their
schools receive rudimentary instruction in
music.
We who live in what may be called the
minor cities of the land are confronted by
difficulty that is worth noting as for
midable. In cities of 5000 or e, 900 in
habitants it is possible to have a chorus of
at least 200 trained to the highest effici-
ency, but the orchestra must be secured
elsewhere. The expense is so great that
| to employ twenty or twenty-five men
brings great strain upon the treasury OF
| the society and more cannot be had
| The result is that with one full rehearsal
a performance is given with volume
spirit, perfect attack and fine shading on
the part of the chorus, and a weak, I'M
balanced and oftentimes sipshod accom-
| paniment from the orchestra. The anna
tours get the praise, the professionals the
| opprobrium.
The most conspicuous single force in
| New England musical history is unques
| tionably the Boston Handel and Hadyr
| society which began fifteen years after
! this century was ushered in, but from
such evidences as I can CLEAN, musical
! Boston got it's first true art impulse about
| the time of the Transcendental movement.
| The great symphonic writer's put some
of their best thoughts and their best work
into string quartettes; and part songs and
madrigals should not be despised because
reckoned with the smaller forms of com
position. Hundreds of them have been
lovingly written by great masters.
l nave Ut0u W SldhSC AooU1Ay
at the different phases of my subject, and
must be content if have succeeded in sug-
| costing lines of thought where I have
failed to develop them.
| After this Miss Gertrude Wheatley Of
Meriden sang "The Journey Is Long
She received a hearty encore and respond
| ed. Mr.. Richard accompanied her.
| Professor E. A. Parsons of New Haven
followed her with an interesting paper or
"Some Reasons for Effect in Certain
Piano-forte Compositions" Mr.. Parsons
illustrated his points by rendering various
selections on the piano.
Alfred Darlington of Meriden next sang
the bass solo cit Was Not So to Be" by
Nessler, being accompanied by F. A
| Fowler.
Mr.. Albert J. Blakesley, the organist Of
| the Second Congregational church of Wa
terbury, had prepared paper on "ChurcI
Music" which was read by Mr.. Alexander
S. Gibson. He said, in brief: Glow car
music, vocal or instrumental, or both, be
utilized to further the worship of oul
| Father"
"Unquestionably, if the opportunity tc
| worship is for the people the people must
have chance to pray and to praise, not by
| proxy or by any intermediary process, but
directly of and by themselves. Prayer, in
the nature of things, is largely personal,
| private, and shuns, in the case of the indi-
| vidual, public expression. Praise, on the
contrary, is in the essence, demonstrative,
exuberant and social. How far united
public prayer may be wisely carried is not
the concern of this present moment, but
| say most emphatically that I do not see
| how any man or woman who looks care
| fully at the subject of worship" can fail,
on logical grounds at least, to be a hearty
believer in congregational singing.
| cit is certainly to be defended" says
Curwen, in his Statistics in Worship Mu.
sic, "as a part of the primitive tradition
of the church, " and, quoting from Bing
hams Ecclesiastical Antiquities he goes
on to say: "From the first and apostolic
age singing was always part of divine
service, in which the whole body of the
church joined together, which is thing sc
evident, that though Cabastius denies it
and in his spite to the reformed churches
where it is generally practiced, calls it only
a Protestant whim, yet Cardinal Bona has
more than once not only confessed, but
solemnly proved it to have been the print
tive practice.
1t is said that general, united singing
cannot, in the nature of the case, be mu
steal. To this say simply that musica
effect is not all the object in view. It is
secondary consideration. Anyone singing
heartily the praises of God in the sa1ictu
airy will find enough to do in doing hit
part, without listening to his neighbors.
| All Oc1ack Franz Rupn, al roDdaro1 =