New-York tribune., 1920-12-19
What Money Might Do
For Musical Culture
Fund Which Is Not Hypothetical; Choral Music
Should Be Saved; Endowment for Model Operas
Education of Orchestral Musicians

1aCA OF 9G,UUO year IN the income
from its endowment fund. The death
Of the society would be an artistic
crime in a city where there are men
and women of wealth willing to expend
hundred times as much for 8 Jingle
season of concerts Of kind VITA which
the public is oversupplied The Mu-
sical Art Society should have been cn%
abled to continue its concerts because
they were unique in their cultivation of
one of the highest and purest forms Of
music, type which is as firmly fixed
as elimination in the development Of
the art as the perfect symphony Of
Beethoven or the perfect lyric drama
of Wagner. The mission Of that form
has not been talhlled in composition,
and is need in stimulating appreci-
alton IF aesthetic beauty was never so
great as it is now. Thus its prescrva-
ton in vital form is like the preser-
vation of a great work of literature,
painting or sculpture; like in need,
like in obligation.
Disadvantages and Advantages of Sub
StOILeN opera
Mr.. Damrosch would give no subsidies
to opera companies. VIC do not think
that any wise and experienced man
would think that he would be accom-
plishing much for at if he were to send
out Il hundred opera troupcs of tho
ind with which We are familiar. Aside
rom the fact that the common talk Of
small minds about the "cducational
value OF opera is nonsense (sncc
opera in general is parody on his
tory, the drama and pure music), the
performance Of poor opera companies
are the greatest of all musical evils
in respect to their tendency to lower
the standards OF singing and acting.
Something might be said Of the dele
tcrious effect upon the popular taste
of even such performances as the pco-
pie Of New York arc privileged to en-
Joy at the Metropc titan Opera House.
But does II follow that nothing could
be done by a wise use Of money to Gle
vatc the opera-the standard Of the
works, Of the performances and the
appreciation OIL LNS puDllC
Disturbing Elements in Present Condi-
tiOns
Let us sec Present conditions,
whether looked upon as adn,.ablc or
deplorablc, arc due to the tendencies in
rcpertory and approximations which the
Metropolitan Opera Company both fol-
lows and fosters. Those tendencies must
meet with d violent interrup what
day Mr.. Caruso and Miss Farrar cease
to be the points around which the rep
rcsentatons revolvc. This means, IN
plain speech, that it is neither the ar
tistc value Of the operas presented nor
the artistic excellence Of the perform
ances ia general which determines the
policy oI the management. What then? :?
Is anything really potent doing to pre-
pare for the Change? Is the public hear
ing the things which make for the bet
termcnt Of taste, Of understanding OF
good lyric art? Very little, it is to be
feared. But something Of that nature
must be done il the element of per-
rnanency is 10 be attained by the in
stitution popuiarly and justly admired
az it now is. Perhaps it could be done
BY model performances Of mode! lyric
dramas. They might not Immediately
meet with that )puiar approval demon
etrated by box Office receipts and the
noisy and disturbing appearance Of
hired claquc, and this would be dis
couraging to the operating company.
Suppose, however, that subvcntion
s~ore given 10 even the wealthy corpora
IN now providing the entertainment on
condition that masterpiece not now on
the lit be given per; ;odically in rs fin
ish@d a manner rs money and lntcll-
J gent management, directed into ideal
channci1 could eoutri1c? Would not
something be thus dom for musical nrtg
+ re are strongly incliDcJ 10 think ~.
We are als, convinced IN aignifcant
Denomination having been offered 20
us by the owners Of the opera holMe IN