San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1923-01-21
and Musicians
By PENELOPE BORDEN.

1 tween the education Of the group at
public expense and the training of the
individual at personal expense. While
there are certain points of contact, the
aims of these two kinds of education
are different. Public education must be
suitable for the entire people, and it is
concerned with those phases OF uIusIc
| that are common to all varieties OF in
dividual practice; private instruction
is concerned with such phases of music
as are necessarily individual and per-
sonal. The first endeayors to make
music a part Of the general equipment
of the citizens and home-maker, and
in its highest phases, to train the music
| scholar and ducator; while the office
of private instruction is TO train the
artist performer. These two sorts of
education and their different aims are
not always clearly distinguished in the
minds of either the general educator or
| the musician.
"One of the most important, if not
the most important, studies of music
is that which is represented in the high
| school. Music should be begun in child
hood; and it is Of vital Importance for
the children TO have teachers who are
musicians in the most complete sense Of
the word. A teacher of music in the
public school holds a most important
and responsible position and school
boards should insist that those ap-
pointed measure up to the most severe
standards Of musicianship. A pleasing
voice and charming personality,
though necessary, are not sufficient.
Academic training in other subjects,
while necessary for the general educa-
ton, will not prepare one to teach
music. Not only must the supervisor of
music in the public schools study special
methods of presenting the subject to the
child's mind, but that person must be
educated in courses such as are offered
in the university"
~ - y
Max Rabinoff, long a prominent fig
ure in the field of musical direction,
will present in this city, under the aus
pices of Lions Club, for a single con-
cert at the Beethoven Hall, January %,
the Ukrainian National Chorus, under
the leadership Of the Cossack conductor
composer, Alexander Koshetz. This
wonderful body of singers will appear
in their brilliant and picturesque, ma
tional costume.
They will be heard in a delightful
program of folk-songs, spring songs,
canticles, ballads and Christmas carols
that interpret the life in their home
land from the cradle to the grave. The
Ukrainians are a singing nation and
every event of their stirring lives is
pictured in song. They sing Of war and
of old wives gossip, of the young gal
liant who goes with his friends TO a
neighboring village, and, like young
II .rvtNfN ~ hrt
to-be, of the wedding, festivities, of the
gathering of the harvest and of the
olden gods Of Thunder and Sun.
The folksong has swept over the
world with its vigor, rhythm and color,
and it is in a land like that of the
Ukraine, where there is such a strong
national spirit, that it is nearest per-
lection. Many Of these songs were
sung in that far-off land long before
the Christian era.
Some Of the songs have a vivid ORR
entail background, making use of tonal
combinations that are generally but
little known, although the great French
composer, Debussy, has made frequent
use of them. Dvorak, in his New
World Symphony, has done the same
thing with the folksong of America.
The Ukrainian National Chorus
achieves the most amazing effects in yo-
cal light and shade, presenting as 1t
does n strange, fascinating, kaleidosco-
pic series Of tone pictures. Here is real
novelty in musical expression, wonder
full treat for all lovers of melody and
harmony.
A very delightful part Of the program
will be the appearance of Nine. Nina
Koshetz, the famous prima donna OF
the Moscow Opera, who will be heard in
operate selections.
~ ~ ~
Frieda Hempel, "The Jenny Lind Of
today" will give the third concert OF
the Mozart Society series at Beethoven
Hall, February 2.
Frieda Hempel has been comapred to
a lark, and nightingale, and golden
throated canary, and to all the feath-
cred songsters that have q right to be
jealous Of her bird-like notes. After
writing that Frieda Hempel was at her
crystalline best in a remarkable per-
Torrance of La Trayiata" with the
Chicago Opera Company in Milwaukee,
Wis. the critic goes on to say:
Never was her glorious voice more
creamy in tone, more glitteringly bril-
liant in the rapidity of her execution,
anu lht NNAN ldcL llONN Noo 10 AN'NAJ no
the first, nay; ioyelier.
at is a wonderful thing TO be able
to sing like that, and Hempel appar-
entity does it with the same lack of eff
fort that a meadow lark does. She
never attacks note but lights upon
it with the daintiness of bit of thistle
down. As for gowns and jewels, gor-
geous Is the word, for she floated
through the opera like rare butter
fly"
Miss Hempel sings many operate
roles, but in no role is the prima donna
more radiant and dazzling than as
Frieda Hempel, herself on the concert
stage, in the wonderful gowns Cabot |
makes for her in Paris.
~ ~ ~
On account OF conflicting dates the
San Antonio Musical Club will hold !
its monthly musicale and recital on
Thursday, February /, instead of Mon |
day, as usual. The program is in the |
form Of a Song Cycle, I'm a Persian |
Gardn," by Liza Lehman, and is in |
charge Of Walter Durham. The pro-
gram will be given in the st. Anthony |
ball room.