The Montgomery advertiser., 1904-12-11

and artistically, express the thoughts and emotions which the composer pre- sents
 Nothing can be more annoying to the finished musician, than the mere exhi- bition of mechanical proficiency. which cannot be dignified by even the word technique, for technique is something above and beyond simple digital dex- terity. dealing, as it does. with tone quality, and tone production.
 Some persons acquire mechanism who have, if any talent at all. only that of low order. At the same time one cannot listen with the slightest modi- cum of pleasure to those so-called mu- sicians, who. though they may possess a fair degree of talent, have allowed animal exuberance, and enthusiasm, to outweigh artistic discretion and un- derstanding.
 There must be a very nicely balanced proportion of talent.-which will en- able the student to conceive to a greater or lesser extent, an artistic mu- sical idea,-and intellect. which will enable him to comprehend and carry into practical execution, the means which must be adopted in order to in- terpret and express the composers ideal. Technique is only the means to an end, and this end must be the ar tistic. logical, and intelligent interpre- tation of a given composition.
 The student must also possess unlim ited industry. patience and persever- ance in perfecting the smallest detail. auickness of perception. and a genuine love of art for arts sake.
 A genuine appreciation of musical art is found only among the more culti- vated communities. and a true appreci- ation of literature, art and science, leads eventually to a demand for good music and an intelligent appreciation of the s1me.
 IL must be confessed that a true ap- preciation of good music exists to a very limited extent in America. In Europe when gala musical perform ance takes place and the men of high rank attend. the artists know that they are playing, or singing, as the case may be, to persons who know the difference between popular and classi- cal music. In America such knowl- edge Is not only not necessary, but, 1t is possibly more advantageous. that Judge Parker Is known as loving. T feel just as young as I used to feel and Roosevelt as loving Hot Time in Old Town Tonight" than for either of them to be able to. enjoy intellectually Beethoven sonata or Chopin Noc- turne.
 The American public wishes to be amused. rather than instructed, and has very vague ideas concerning the intellectual worth of classical music. The press, also,- in many places is largely responsible. because it does not attach sufficient dignity and import ance to musical criticism. Compel ent t music critics. if they can be found. are not employed. and everything Is praised fndiscriminately.
 Musicians, themselves, are largely responsible for this lack of apprecia- tion on account of their gratuitous playing in public. This is demoraliz- ing. because 1t gives to the public free of charge the results of years of hard study and toll.
 The right to practice law or medi- cine can be acquired in one-third of the time that a musician must study before he can become ar artistic exe- cutanr, while the development of crea- tive ability Is a matter of lifelong study and research. And yet. on ac- count of musicians giving their ser vices without remuneration. 1t is often difficult for first rate artist to draw an audience that will pay expenses. By giving his services the musician not only cheapens himself as a profess sional. but cheapens his art by plac- ing 1t upon a level with the produc- tions of amateurs, whose efforts are often valueless. The result Is that the public attends most willingly the con- certs given by those who have neither the courage, nor stamina, to place some value upon their efforts, and blindly refuses to pay a fair price for the privilege of listening to renowned musicians, thereby remaining grossly and lamentably ignorant of true art. and great artists.