Arizona republican., 1910-06-18
EIGHTY YEn.,s OF MUSIC.

Paris, June 14-There is something very touching in the death of Mmc. Pauline Viardot two months before her ninetieth birthday She was a conscious. living record of eighty years of music and of arts that are lost She does not close an era: she outlived several. We were grateful to her for the real acquaintance she gave with an age dead in more things than it's music.
 The youngest of the Garcias. shei was Parisian born; but her father, with him when she was three years old The first stop was London. where her 16-year- old sister-the flu ture Malibrau-burst on the musical world as Rosina in The Barber of Seville" Father and daughter were a conjunction of stars such as the mu- sical world is not likely to see again. He had worked his way up from his native Spanish "tonadillas' to perfect acting and superb singing His chfl dren were trained under his own eyes; he was tyrannical in exacting work, and with him work included all the surrounding arts. He was practi- cal and did not limit his voice train ing by mixing it with physiology and acoustics. He boasted that his daughters had voices covering both the contralto and soprano registers; his son went on and invented the laryngoscope.
 After a year. in 1925. the faimly went over to New York. where the father took an early try. perhaps the first one, al Italian opera They gave Rossinfs "OtellO.' forgotten now. worthy of memory even among the rival harmonies of Verdi. The grown daughter was Desdemona to the fath- CTS Otello
 All came back to Paris. where the father opened the singing course which his son was to continue so long after him-the son whom we have all known teaching at the age of hun dred year sor so in London. The, whole family now turned in to com plete the training of the child Pauline. ! Her father died when she was II. and that year she began singing with 1 Malbrans new husband. the Belgian Violinist. Beriot. at first in Brussels. 1 then in Germany. and last of all with l the conservation of Paris. She was now r. and Malibran had been dead i two years. thrown to the ground by l horse in England
 Musset was chosen to write the | account of the young girls concert. l which was understood to be but a | prelude tO her taking her celebrated ! sisters place at the opera This piece | of literature. for it is such. and Mus l sets corresponaing account of her final debut year later in Desde- 1 mona, are worth examining for those ! who believe that in criticism tfnre | should appear humanity and the con | temptation of time and all existence |
 Meanwhile the young Pauline | kept to thefamily tradition of work | and completeness. Shebecame a per feet piano player under Litzt. who ] was young also. but already known. 1 and she studied harmony and acquired | her graceful mastery of composition | under Reicha, a great teacher who had been orchestra mate of Beethoven. It was in 1899 that she made her ap- pearance as new star in London and | in Paris in her sisters role of Desde- mona.
 Louis Viardot. director of the Italian
 
 for Rossinis roles. and two years later married her He profited by the end | less triumphant tours of his wife to E study the art museums of Spain and | Russia. Italy and Germany, and wrote his books. which are still consulted. | He edited a philosophical, social. mild | ly political review. with Pierre Leroux and George Sand: and the youngest |. of the Garcias. thanks to the com l. pleteness of her education. was able r to hold her own with all these leaders | of timely thought and literature. She E continued to her death line if friend r ships and series of kindly sprightly. E well drawn caricatures of all that li came before her. Coincidentaily with i. the bIossoming of genuis in France.
 It was the same in music, with the changes which Musset foresaw. i1 Meyerbeer asked expressly to have her create F'ides for him in the Prophet in 1S4S. and she kept on with him in- the "Hugenots" and E1 Robert Le Diable" Then. in 1852, she turned about and created for Gounod. l. only beginning. the title role in his 'Sapho." Four years later she was Acunza for Verdi's "Trovatore." Between 1859 and 1861 she brought hack the startiingly different roles or Glucks "Alceste" and "Orphee" and Beethovens LeOnora in TT delio. Then in her prime. she had the grace full wisdom to retire, and for nearly II fifty years more she has occupied herself with teaching the art of the Garcias to countless grateful pupils. still sought her. For she sang at a private first performance as Dalla. In 1873 she consented to create Massenet's Marie Madeleine publicly. Long be- fore she had transposed his piano mu- sic into voice studies.
 All this busy life was varied enough to occupy half a dozen talents of our weaker days. but Pauline Viardot also found time to cultivate precious Id with world thinkers like + Renan or stress worn geniuses like Ii Berlioz. It is a piercing problem of E In those days the child, the youth and maiden worked and l1 trained completely. unelectively.