The herald., 1897-03-21
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The custom of giving pupils recitals is
assuming dimensions of such gravity
here that 1t is time to consider the ques-
ton, pro and con, seriously and dispas-
sionately, before the custom shall have
grown into fixed habit. The popular
reason given in favor Of the practice is
that it develops confidence in the pupil,
and is. Incidentally. a free advertise
ment for the teacher and his or her
method.
True in way, and yet surely not all
the students heard in these recitals are
working with view to making profess
II not, why the need of cultivating conf
dence; then the purrgse of advertising
on the teachers part tends to defeat It
self by the general inadequacy of the
pupils performance.
So much for the pro side Of the ques-
tion, which is. in turn, questionable in
its results Now, what are the con argu-
ments? Let US see. The audiences at
these recitals are made up largely of the
pupils families and friends. who are
there by invitation. Each fond parent
applauds the efforts of all the other peo-
ple's children that those of his own may
be shown like courtesy. the result being
wholesale and indiscriminate applause
to the good, bad and Indifferent per-
formances, that is only denorahzing in
its effect. since 1t serves to make each
executant overestimate his own powers,
and fills him with a conviction that he
Is already vlrtuoso, when in reality
he is proving to discriminate mind that
that he has either very much to learn
before he should essay a public per-
formance or else that IA hasn't sufficient
talent to warrant the expenditure of
good money in his musical educatio
Again, aside from their demoralizing
effect ON the pupils themselves, these re-
citals have strong tendency to vitiate
the public taste. The audiences which
attend them become accustomed to
mediocre performances. There is seldom
any attempt to interpret the high class
music on the program; 1t is only O rendi-
tlon at best, and that SO inadequate.
often so palpably bad that people learn
to dislike and avoid good music when
others are announced to play 1t.
The very teachers whose pupils ap-
pear in these recitals are afraid to give
q concert themselves, because they have
proved that while the invitation, affairs
for their pupils are crowded, they can
not draw enough of an audience them
selves to cover expenses. much less re-
pay them for the time necessary for
proper rehearsal. The people whose
patronage and support are expected and
needed have become such confirmed VIC
tins of the free concert habit. they can
hear SO much music for nothing, that
they are not enough interested in getting
very superior performance of music to
pay for it.
Last week a pupils recital was given
In Music hall. The announcement was
made that: I'm order to cover expenses
the sum Of Is cents would be charged for
certain front rows In the center of the
house." The night OF the concert there
were perhaps thirty or forty people In
the reserved portion; the rest Of those
benches were empty. but every free seat
in the house, up stairs and down, was
occupied.
The answer may readily be given, and
with truth. that people can't be expected
to pay for an amateur performance, but
how is It about concerts given here by
professional artists? There must be some
rehson that Bloomfield -zeisler, for In