Omaha daily bee., 1901-01-21
MOCKRIDCE and CRITICS
Music Master Comments on Power of the
Newspaper Press
STRUGGLE FOR FAME AND GOLD is HARD
Paderewski, the Pianist, Kept In the
Background for Years by Lon
don Critics who Finally
Relent.

1t is not much encouragement that Whit
ney Mockridge gives the musical student
who desires to go to Europe to win honors
and fame. Between the numbers in which
he appeared on the program at Boyd's a
few nights ago, he talked about his early
struggles and success.
III the public OF Europe and America
could have their characteristics mixed
both would be improved, especially in their
treatment of artists struggling for rec
ognition,' said he. I'm London my sue
cess is referred to as phenomenal and yet
It was four years before the musical pub
lie would recognize me as possible vocal
list. OF course, / secured a certain rec
ognition earlier and my early days In the
metropolis were fortunate. In an exami-
nation | was selected to sing at the Lon
don Symphony concerts the first year l
went there and shortly after / was given
an opportunity to sing at the Cardifi
triennial concert, being the only Ameri-
can who has appeared at that event. But
still was not recognized by the musical
world.
Power ts Appalling.
THE power of the musical critic in Eng
land and on the continent is something
appalling. They can make or ruin an a
pirant for honors, and there seems to be
no end to their sway. There is a critic
on one OF the London papers, who kept
Paderewsky in the background for two
years. The pianist was as powerful as
he was at the height of his popularity
butt for some reason the critic did not likt
him. If any mention was made OF MS
appearance II was unfavorable until OF
day when the friends Of the pianist an
the critic caused them to meet at the home
OF the latter For hours the pianist play
for the critic and finally the autocra
showed Measure. After the next appear
ance of the artist his reputation was mau'
and no became the lion OF the hour c
arai,y n 10 seven wears at least before
new artist is given a place on prosrn
,r..,, ,,o, 600 a new name on bill, II
a few months after the singer has entered
the ranks of the London searchvrs W.
fame 1t may safely be said that II 10
financial transaction, the artist or irie.i>
| having paid the concert manager ior Wv
privilege of appearing before the puohe
Fad for Old Favoritcs.
another bad thing about the European
public both English and continental " III
I
desire for old favorites. When once al
artist is enshrined in the hearts OF TN
| people and they have formed haoi'
arplauding his work they follow MIN u
| his decline There are men drawing
crowded houses in London, Paris and Der
| lin. who cannot sing, and whose voice
| have for years been lost. They wer
singers in their younger days and are SUI
| followed by their admirers, to the exciu
sion of younger men and women. who haV
not attracted the attention of the critics
| Here I'm America the public is prone t.
| grasp at novelty. When new artist ap
| pears he is followed and the old is FOR
| gotten regardless of merit The first no
| ticeable decline in the power of musica
| favorite is the signal for the people I
| desert him. Once on the shelf nothing ca
| revive the artist in this country, and tina
| is why | say that the musical public o
| Europe and America should be shaken to
gether and the result would be the i'm
| provement of both"