The sun., 1919-10-19

Naturally the music a-udent believes
that he has right to live UP to the
American standard just as much as
tinsmith or a carpenter has, although
he can do no more than furnish an in
tangible modicum of sweetness and
light while the others are turning out
tangible wash boilers and staircases,
which are absolutely necessary accom-
paniments Of human existence.
Desires of Music Students.
The average music student in these
days desires to start with the lowest
requirements of the American stand
erd, as above outlined, and in two or
three years work up TO the possession
Of town house, a country place, a
yacht. at least two automobiles, fancy
COWS, poultry (why should Mrs. Pader-
ewski have all the prize chickens?)
pigs, dogs, and perhaps even children.
When the teacher says, Il am obliged
to tell you that you cannot become an
artist without devoting yourself to
earnest study for four or five years"
the student answers, go to! I have
Just read the advertisement of Signor
Spinelleni, who guarantees to put the
pupil on the concert or opera =. ~
one year" The teacher Vt r4l
speaks: II am not in that lin 'u.i
ness. 1 am engaged in teac,. u, pa
pills to become artists, and tina; TAKES
time" Whereupn the pupil gives ut
terance once more: Good day. am
for the teacher who will put me on the
stage in a year."
The fact is that the typical music
student Of this period is not at all con-
cerned about becoming an artist. He
wishes to make money. Now a young
man or woman with a rich, powerful
natural voice can get into opera very
quickly. Furthermore, with the aid of
press agents and photographic dis
semination of the voice. accompanied
by large display ads" and portraits,
this young singer can become famous
IN an incredibly brief time.
But how long does all this last? A
short life and a money making one
may be within the reach of a few
There is at this moment a celebrated
singer who is singing much too often,
but doing It with open eyes, realizing
that the present celebrity is likely to
be OF brief duration and TO be sud-
denly eclipsed by the splendor of some
now star. But why embark upon that
kind of a career? Is 1t not in simple
truth a piiable confession Of weak
ness?
Students Of music as a rule know
almost If not quite nothing about the
history of their art. If they knew
even little they would probably be
acquainted with the fact that all t.c
great artists had long careers, that
they made money not only while they
were young, but in middle life and in
some instances-not few-when
they were old.
Voice Cannot he Abused.
In the case OF the singer this can
be true only II the voice lasts, and the
voice cannot last II II is abused. In
the case OF the pianist or other in
strumental player continued favor with
the public depends entirely on the
power of the artist to sustain interest,
ana that means artistic growth. What
mas become of all the Sensational"
pianists and violinists? They had
their dazzling hour OF glory and they
iaded away But such as Holman.
bauer and Gabrilowitsch play season
after season and always with increas-
ing favor. Whether Mischa Levitzki,
Guiomar Novaes and the other
Younger performers will grow or re-
."le into il!!mitable space after the
habit OF comets depends entirely upon
Inc character of their artistic souls.
All that the teacher can teach Is
technic and style. chiefly the former
u is impossible TO impart style to a
anI soul. But voice technic can be
taught; piano and violin technic can
be taught Some pupils develop tech
nc more swiftly than others and to q
far higher degree. There are techni-
cal gifts as well as artistic. But when
technic Is acquired the rest is per-
soUai
DID you ever pass any considerable
uine in the company of artists of any
Mnd? They are certain to fall &c
talking about their art Do they dis
cuss ideals, imagination, emotion, in
teIectual analysis? have never
heard them do So They talk technic
Iecnnlc, technic. The endless struggle
OF their lives is TO perfect the means
with which they are to express them
serves. Give them inexhaustible tech.