The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1901-03-10

play, it is understood that the Grau
people were forced to sign a proviSo
with the publishers of Sousas musical
goods, whereby they were to pass out
Sousa's STARS and Stripes Forever -
evidently as an advertising feature,
whenever an encore 855 demanded 80
the luscious strains of the Captain
chorus. IF SO, that is the cheapest and
most vulgar variety of cOmmercialism.
And, in any event, there can be no
reason why a person calling for cham
payne should be given blue vitriol.
Let a girl who wants to learn to
sing first make of herself a good mu-
stefan. Let her learn some musical
instrument thoroughly. All women
cannot take up the violin, although for
singers that is the best instrument.
The girl who begins to study singing
by acquiring a complete musical edu-
cation will have made the best pre-
paration possible
This is Nine. Sembrich's advice as
to the first step which d singer should
take.
4 have noticed she continued, that
singers who play the violin are more
likely to sing in tune than others But
if the violin is out of the question. a
girl who would sing had better learn
the piano.
Then comes the difficult question OF
selecting the teacher who can do the
must Important ILlllB COrrecLlN-CldC
Is, place the voice. Once that is done
as much depends on the pupil as on
the teacher. If she is a. good pianist
or good viOlinist her work of pre-
paration will not only he easier bur
all her practice will be more effective
As for the roles she learns. this is the
adVice that always giVe-lean the
old repertoire
1t is such music as La Sonnambula. >
Lucia, Linda de ChamouniX' and II
Barolere' that trains one to sing we'll
Learn that thoroughly and let the
modern composers alone for a while If
there was anything needed to, prove the
truth of my theory. one would only
have to look at Nine. Patti She is
over so now, and yet she sings remark
ably, and she has her voice left still
Of what other women can the same
thing be said? Look, too, at Lilli Leh-
mann, who began her career as a
singer Of the Italian music, and is to-
day another great example of what that
training VIII do. 1t was not until she
had learned thoroughly the Italian rep
ertoire that she began TO sing Wagner
She and Mime. Patti are two of the last
great singers. No young ones are
coming up to take their places. and
the reason is that the old music which
trained the voices best is no longer
taught today. Even in Italy it is not
taught to the singers. They imme-
Mascagni, which is just as bad for
their undeveloped voices as Wagner
music.
After a girl has learned to sing, the
next important thing for her to learn
is what she should sing. Certain voices,
as so many singers seem to forget, are
suited only TO certain kinds of music
One may have a voice which would
last for a long time in singing the
music suited TO ii. But if it is used in
singing Wagner or the dramatic music
OF the younger composers, it cannot en-
dure. There is only d certain guam
tity of il, and if it be used up in two
or three years by singing music to
which it is not suited, only one thing
can happen. But singers often seem
to forget that with a. voice suited only
to certain kinds of music, it is impos-
sible to succeed in entirely different
fields That is a thing which the singer
must learn for herself"
Nine. Sembrich practices now for one
hour every day, but not continuously
Fifteen minutes is the longest stretch