The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1906-07-29

showing attention to one of our
artists, President Roosevelt recipro-
Gated by entertaining Humperdinck,
the author of Hansel and Gretel. The
famous composer gave the President
an autograph copy of his opera, and
the Executive returned the compliment
by presenting him with one of the
Roosevelt books on western life. When
I Hansel and Gretel was recently pro-
! duced in New York by Conreid, Hum
perdinck was given a big sum to sit
/ in a box during the first performance.
| AS a rule musicians who desire to
become professionals try to make their
! first public appearance in Berlin. If
| they can gain applause here it is not
| difficult to find engagements else
| where. The leading musical organiza-
! ton of the world is located in the
German capital. This great bureau has
over 500 artists on it's list. and its OPP
erations extend to all countries.
Among the American students abroad
who give promise of great things may
be named Arthur Hartman, violinist,
of Philadelphia. who will tour America
this year. London critics say that
, Richard Buhlig, budding pianist of
Chicago, has made a success not
ton. Myrtle Edwin of Chicago made
profound impression when she played
at the Philharmonic in Berlin. Au-
gusta Zugermann. protegee of Daniel
Frohman, and Adelaide Norwood, who
sang with the Savage Opera Company,
have both made distinct successes. A
notable exception to the idea that a
performer must be trained in Europe
to succeed is shown by the experience
of William A. Becker, the Cleveland
pianist, who had no foreign training
at all, and yet who has made a ire
mendous success in Europe. He com
pIeted his studies in America under
Mason
COST OF MUSICAL EDUCATION.
1t is estimated that the least upon
which an American student can meet
expenses abroad is $1,000 a year, |
and to become properly trained one !
should stay not less than four years, |
SO that $4,000 is about the minimum |
for which a foreign musical education |
can be consistently obtained. But no |
matter how much money a student may
be willing to spend, it does not follow !
that he will be able to receive instruc-
ton from the best artists. Unless a
pupil is particularly well advanced he
is quite likely to be turned over to one
of the assistants of the great teachers.
These assistants generally give less
proficient instruction than might be
had in America for half the price.
1t is certain that Americans who
want to play merely for the pleasure
of their family or friends have no oc-
casion to come to Europe for instruc-
ton Even if they do acquire unusual
a fnraiun pXD1ripnrPl
they cannot put it to any use at home.
Any person who invests from $4,000 to .
80 coo in a musical education has small
chance of realizing on the investment.
Nearly all the successful performers
IF the present time have pronounced
business ability along with their artis- +
ic skill and it is generally conceded
hat a combination of these traits is Z
essential to success when counted s
rom a financial standpoint.
WHY NOT STUDY AT HOME.
One of the arguments that is set +
orth to induce people to come TO
Europe to study is the musical atmos-
)here that is provided i'll the continen-
al centers. Here concerts are so
numerous that they are vertically an
Embarrassment of richness. But there
$ really no occasion for the American
o leave home TO hear the best per- Il
orrners because all of the premier ar
lists inva riably find their waV to the
Cnited States. Although it has long
zen presumed that Europe has mo-
sopoly on all things musical, the fact
emains that the average music loving
American has no need to go abroad,
fther for instruction or for entertain-
nent When indulgent fathers and
mothers get over the idea that il is
fashionable 10 send their daughters to
Europe. their attention may be fo-
.use1 uoon the fact that home institu-
ions are offering them equal facilitiesl
It much less cost.
FREDERIC ]. HASKIN.