The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1898-07-06
CONCORD OF SWEET SOUNDS.
The Convention of the Music Teachers
in New York.
New York, 20 W. 18th Street.

New York, 20 W. 18th Street.
Somewhere l have read that people
wherever they are always carry their
acme environments with them. 1t Is a
mistake, -accepting this statement liter
ally, should have expected in New York
toihe able at pleasure to feel the invigor-
atiug breezes from Casco Bay and see in
the distance snow-capped Mt. Washing
ton; but in reality breath only sitting
city air, and view the solid blocks of
brick across the street. 1t certainly is O
self-evident fact that on one would visit
New York in summer. without strong in
ducements. My magnets were the five
weeks session of the Virgil summer
school for music teachers, and the four
days convention Of the Music Teachers
National Association. If there is one
thing that infuses a music teacher with
new life and enthusiasm, it is to meet
and compare experiences with other
toilers in the same art. One is so apt to
feel that he or she has monopoly of the
difficulties that bese5 the earnest worker
that to have practical proof that
tea cheers from Pennsylvania, New York,
New Jersey, Washington and Vermont,
have the same burdens to bear, and
exigencies to meet, that Maine teachers
encounter, is cheering and consoling. Not
one CT the least pleasures is that of
mutual exchange of ideas proved beneficial
in teaching, and full as much is gnined
| by this interchange of views as from
| actual lessons with the teacher. Mrs.
| Virgil is as ever, the same indefatigable
LEADERSHIP owes much of her reputation,
undoubtedly, to daring to do. where
others would pause and consider; but her
confidence in herself and hor pupils is so
hedged round with wise judgment, that
success is inevitable How many teachers
courage to give the ensemble technical
exhibition that she gave before the
hundreds of teachers assem- led in con-
vention at thu Waldorf Astoria? With
four pupils, at four claviers, she gave
Illustrations in heavy chord playing,
octave work, scales and arpeggios with
varying crescendoes and diminuendoes
and then had the same repeated at four
pianos, and this with only one piano
rehearsal, before the exhibition. 1t was
all performed with accuracy, clearness
and tine shading, rejecting the greatest
credit on pupils and teacher and proving
the superiority of the Cavier and the
Clavier Method. In the recital of seven
difficult concert numbers played by Miss
Iraub, the leading exponent of the Virgil
m sthod, the ease and grace of her move
ments, the power in arm and wrist, as
shown in chord and octave work, her
extreme velocity and breadth of interpre-
tation. were all thoroughly enjoyed, but
it was in the strength, Iightness and
clearness of her finger action in passage
playing, that she offered such con-
vipcing object-lesson to the teacher of
the value of her methods. Only those
who do not realize what they should IN
derstand, or those whose eyes are blinded,
and ears dulled by prejudice could fail to
be convinced. The school has been very
successful numbering many teachers as
it's pupils. Ear-training, sight-reading,
time beating and technical classes, have
kept them hard at work. The convention
| made pleasant break in this steady
every day drill. and offered the means of
comparing different methods of teaching,
| both vocal and instrumental, of hearing
/ the latest ideas in musical reform, and
| listening to some of our leading artists.
Where SO much was enjoyable it may
seem ungracious to rarticulariz5, but the
rendering Of Liza Lehman's Song Cycle,
"In Persian Garden" was, for ms, the
most perfect and thoroughly delightful
feature of the entire convention. 1 never
listened to music more completely and
happily welded to words than in this
instance. 1t is SO exquisitely beautiful
| and was so appeciatiyely rendered by
| Miss Ethel Crane, Miss Marguerite Hull, ,
Theo. Van YORK and Carl Duff that the
beauty and meaning of the poem were
greatly enhanced by its setting. Miss
Hull's sympathetic contralto was partic-
/ ularly fitted to the pert, but with each
artist it seemed to be an Interpretation of
love. Mr.. W. H. Henderson in most
| happy and original way told US of the
|
| instrument shown, and illustrations
given whose only fault was their brevity.
Later Mr.. ". II. Krehbiel assisted by
Mrs. Krehbiel as vocal illustrator made
US in an informal lecture realize the
pathos and unique beauty of our negro
folk song. 1t is impossible for ne, in my
limited space, to tell one half the musical
feasts that enjoyed. 1t was certainly
pleasure to sea as we'll as hear, Mr..
Clayton Johns play his own songs, and
the enthusiasm aroused by 81 cannot help
loving thee," proved that musicians, as
we'll rs those who do not lay claim to the
title, enjoyed a good melody. 1t goes
without saying that Max Heinrich's song
recital was for many, the one feature of
thu convention. What consHmpate art
| the man possesses. The voice is worn, but
a semblance of what it was, but that does
not matter; it's the way he says,
| t'thrOuph the leaves tina nj Tht-wif,ds