The Washington times., 1921-02-24

Musin writes to the musical observer
| about the young violinist Josef
Stopak. who comes to Washington
tomorrow for his first recital here,
An agent has used the fact that
Stopak Is pupil OF the French
violinist, Jacques ThIbaud. Stating
half-truth. But let o. Musin's letter
speak for itself. He says In part:
Joseph Stoopack, who has lately
changed his name to Stopak. was a
pupil OF mine for seven years. from
1910 to 1917-1S. / gave him his last
lesson shortly before he enlisted. in
an ambulance unit and at that time I
told him he needed no more lessons,
but should practice by himself and let
the public be his next master. With
me he had mastered an immense
repertory. Bach sonatas for the
violin alone. other classic sonatas,
about fifteen concertos and other
important works or the virtuoso
repertory which he played from
memory.
When he left my hands his attain
ments were such as TO warrant sue
cessful appearance with the philhar-
monte or symphonic societies in any
OF the works OF the important violin
repertory.
1t Is, therefore. "A matter OF regret
that this young American artist
should have been so belittled in the
way he has been (Which
presents him as a novice and a pupil
and only promising pupil' at that.
The advertisements which stated
that he ''is the most promising pupil
jacques Thibaud ever had" etc, etc,
conveyed the impression that his
artistic development is due to Mr..
Thibaud's instruction.
In connection with this matter. let
me also add that know from persons
who, while in company with a promi-
nent critic after Stopak's recital,
heard an agent of Thibaud and Stopak
say. "Stopak is a Thibaud pupil. He
studied five years with Thibaud."
This proves the false pretenses OF this
propaganda. Stopak having been with
Thibaud for only a few months since
his release after the armistice, when
Thibaud was not touring In concerts
and in Europe.
Sincerely yours,
DIVIDE MUSIN.
ART WITHOUT PREJUDICE.
It's a false standard OF commercial
ISM that has brought this thing about.
It materially hurts the future Of
| music in America The new influence
| in a musicians life is often OF potent
| influence to him. Granted. 1t may
even be the thing that has brought
him from obscurity into the lime-light
OF public performance.
The contention remains, however.
| that we must maintain and enforce
| respect for the fundamentals built
strongly and we'll in the student days
here in the U. s. A.
No sculptor repudia ties the fact that
his force Is built upon the lines that
Michael Angelo laid down for NAM
moth form in marble.
No musician really has a meteoric
rise to fame. The public is not given
the long hours of preparation. in this
fanciful stimulus TO interest.
SO. for music in the Netting Pot
Of the United states. let there be
room for recognition OF the art that
In here, no matter whore that art
comes from. The above incident is
probably outside the conscious co.
operation of either Stopak or OF his
distinguished instructor Thibaud.
We must not seek false gods in our
music OF the future. In truth, the
gods" of music are here in America
with us. Let's make the most OF
them.
Above all. let us proudly proclaim
what the homeland has given us.
When we look at our concert calen-
dars Il seems as though Europe was
robbed that we might feast.
''Give music it's rightful place in
our national life" That slogan
brings us the culture of the world,
Just as libraries bring us the litera-
ture of the world.
We do not build fences of prejudice
In art. We are looking forward to y
broader standard In America.
aAa-.a. 49, -