New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-12-12

native music. No good art ever hurts
or lessons the power to produce any
other valuable art. Art is long his
tory of great progress, but II Is con-
nected history, and by giving good
music TO your young people here, from
Germany, from france, from every
every known sour~C, you are only open
ing up their interest, their need OF
music, their capacity to produce music
and when they finally reach the point
where they long TO create they Will seeE
native sources of inspiration If they
have the real art. But if you pollute
the spring, If you poison the beginning
Of the musical source. you will find the
power for creation is atrophied. and the
small stream which forces its way out
will be mudd.ed and soiled and un.
beautiful.
you ask me how the American ma
tion shall produce It's own music.
say 70 you from the bottom of my
heart that it shall at once cease 20 tram
its children with what is called the
popular music BY this ! do not mean
for an instant that the primitive music
of a nation is not the rich, resource.
full. inspiring thing; the folk music Of
all lands has been the beginning OF
musical development and musical cult
ure. the joy Of the people and the
foundation on which the widest musical
culture has rested. But such music as
you are producing in America to-day
for the cabaret and the second-rate
musical comedy is not folk music. IL Is
Just the expression Of restless desire
Of the people for excitement, for change
for intoxication, which is not improv-
ing from year 70 year, from generation
20 generation; 1t is only changing,
meeting various emotional whims OF
the people You have new music be-
cause you want new dances or you
want more excitement. This cannot be
come the source Of inspiration for the
development of a musical nation.
"As yet the people DO not seem will
ing 20 make the effort 70 support
grand opera and symphony concerts.
The question resolves itself into this:
II you do not endow these institutions
YOU cannot have this music. If you
wish the music at this present stage OF
Your civilization, II must be endowed.
So far as I am aware no musical in
stitution Of any description is support
ed by state or government in America.
The only endowments that are made
are individual, and those in some in
stances are lavish 70 a degree. In New
York your grand opera is supported
by subscription and frequently by add
tional endowment as we'll always per
sonal This is true Of every grand
opera in America. 1t Is also true, so
far as / am able TO state, Of the sym
phony orchestra, I know it is true Of
the New York Symphony, Of the Bos-
ton, Chicago, San Francisco, Seattle
and so on indefinitely.
and right here it is important 20
note that the interest in the symphony
orchestra is spreading. II is no small
matter for America 70 realize that
there is successful symphony orches-
ira in Seattle as well as IN San Fran
cisco, Chicago and so on toward the
East. But these orchestrss are not
supported by the voluntary contribu-
tions of the mass Of people. The Bos-
ton Symphony Orchestra is practically
the gift 70 the people OF one great
music lover. Mr.. Higginson. II Is Mr..
Higginson who has made il possible
for the Boston symphony to work
without Joining the music union, so
that il IL an absolutely free institu-
ton. And in this free country | find
that the trade unions do not slways
leave the people quite free either in
the arts or crafts. ! think that IL you
are not careful, through them you will
greatly mar musical opportunity and
you will possibly kill the development
Of craft work.
"A short time ago q carpenter came
20 do some work for me IN my house
in Boston and | actually had 70 tell
him how 20 do his own work, for ] am
broud OF tho fact that ! am good
carpenter. 7 learned II in my youth,
as ! did many other simple, practical
things.
81 talked with my union carpenter
and he told me that as matter OF fact
he was not q carpenter at all, but n
plumber; but ne could make a little
more money as carpenter and so he
elected 70 call himself that and came
10 do my work. II is much the same
ia the musical trade unions. There
g. no standard except financial one,
and 10 Is not the man who IL the
greatest musician who has the best
salary.
But 70 return 20 the endowment Of
music. You will see that at present II
ia necessary for certain kinds Of mu-
sical development. After you have put
music in all your schools, in the big
gest. most impersohal way. firmly be-
lieye that you will be cultlyating a gen
Grafton Of people who will be eager 70
support symphony concerts, grand
opera, who will be writing music for
both.
The question Of endowment does not
seem % trouble any one IN Germany;
10 is universal. In every place OF forty
or fifty thousand inhabitants there rs
q symphony orchestra supported By the
town. In Berlin the Emperor gives
3 600. 900 marks year out Of his pr.
yate income for the advancement OF
music; in Vienna, music ~ supported
By the government There seems 20 be
no question In the world but what enc
people who have the greatest oppor-
tunity for enjoying music should rehily
be the supporters. The idea Of endo"-
Ing music In Germany came about
through Frederick the Great, some two
hundred years ago lie was a music
lover. lie and the dukes Of his court
decided that they would pEy FOR ~
tbsmseiyes. and this sentiment has con
tinued in Germany ever since, although
II il we're not done there ia. 10 my
L.. 80 .s...t4,.. -. Il. .,,,rfN luf Uyh At