Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-07-10

lou can no more Duy music tnHn
you can buy genius or love-" he said.
1--WE can only wait till people grow
into the proper attitude. And believe
in the next generation the world will
have advanced greatly in a musical
way. While the parents of today do
not know how to appreciate music,
their children are growing up in a
different atmosphere and learning to
known the power and depth of the art.
when star worship ceases and
people learn to appreciate music for
its own sake, we will have Travelled far
in our journey. Today parents 90 to
grand opera to hear Caruso, or Farrar
or Melba. Their children have a .keener
sense of value, for they hear the opera
as n whole, forgetting the star.
IT believe an opera company would
be a splendid thing for Philadelphia, If
there we're no $4,000 a night artists
in it. Because they put themselves
forward. they concentrate attention
upon themselves, instead of sinking
their personalities in their roles,
making the most of their talent, and
giving the proper value to the entire
opera.
Lacks Sell. Confidence
Zone great trouble with Philadel-
phians is lack of self confidence. They
insist on going outside their own city
for artists. They will take mediocre
man from New York rather than a
genius from their own midst. believe
Philadelphia can match every one of
New York's artists. I mean by that,
every one of New York's resident
artists. There are some high geniuses
who make that city their headquarters
but New York cannot justly claim
them as her own artists.
"As for national school Of music
in Philadelphia, continued Won Stern
berg. "I am doubtful if such plan
would succeed. A national school would
mean certain amount of government
control, and, consequently, political
control. You could never mix politics
with music. Politicians are far from
appreciating the fine arts and it would
be detriment to the nation to have
music controlled by men whose only
thought is for self power"
JOhan Grolle, head of the endowed
Settlement Music School, who has haG
excellent chances to note how the poor
appreciate music. said with such fund.
he would establish an institute to demo
cratize music. ut would provide 6
musical education that would be (
proper continuation of general educa
tion," he said. "Rich and poor woult
be able to obtain the best practica
musical education at fees adapted t.
individual conditions by sliding scal'
of tuition. 1t would avoid pauperizint
and would act chiefly as the assisting
agency for development of individua
effort.
Herbert J. Tily, composer and direc
tor of choruses. would use such an in
come in organizing, developing ant
financing better and more universal
choral music. 81 would have sectiona
organizations all over the city he said
"These. under competent conductors
would have both a community and mu
steal value. The members would re
ceive drill in sight reading and ensembl
singing and, of course. would develol
therefrom sense of musical, apprecia
ton"
Samuel Lacier. conductor of the Cur
tbs orchestra. composer and critic. sug
gested the training of musical audience
for the future. The best music. h
said. should be carried to all the people
not just to the musically educated.
"If 500. .OOO, 900 were to be spent II
the interest of music" said Hedd'
Van den Beemt. of the Philadelphi
orchestra and conductor of the Frank
ford orchestra. IT would divide l
among three things, symphony orches
ira. music school, and opera. Th
symphony orchestra would require
home, an endowment fund and pen
sion fund. The school should be ru
in connection with the orchestra. Ther
should be free scholarships. The
there should be an up-to- date oper
house with extra large stage, newes
machinery, modern dressing rooms
spacious quarters for orchestra an
chorus; the necessary rooms for a
operatic school with a small hall 10
the performance of less pretentiou
works by students