San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-09
BY PIERRE v. II. KEY.

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and are benefited. Or through unfor-
tunate living conditions and associa-
tons we come in time to reflect in
thoughts and deeds that which is not
desirable. New York exerts upon the
rest of this country a specific musical
influence. Most of it happens to be
constructive and is therefore good. A
part of that influence is of no positive
value whatsoever; it is, on the con-
trary, damaging. One should accept
as necessary whatever does not Tit
rightly into the scheme of any field Of
endeavor. BY this token it is proper to
regard with a certain degree of toler-
ance the half-baked musical efforts
which transpire in New York concert
auditoriums, and now and again in the
Metropolitan Opera House.
H. C. COLES, music editor for the
London Times, has just written some
thing on the subject of New York's in
fluence unsteady upon the rest of the
United States. Mr.. COLES, it may be
remembered, served the New York
Times as guest music reviewer from
last October until January. "As in
other Matters" he states, New York
is the great distributing center for
music in America. What goes on there
exercises a widespread and important
influence elsewhere.
"Other centers - Philadelphia, Bos-
ton, Chicago-can claim virtues which
are noticeably absent from the cosmo-
politan and varied activities of the
metropolis; yet probably none OF
them, unless it be some of the western
cities which I had no opportunity OF
visiting, are beyond the influence of
New York. They may assert their SUI
periority, but they will do so by keep
ing a watchful eye on whatever hap
pens there" (meaning New York;.
In this latter respect we have the
advantage of Mr.. COLES. We have Wis
tied many of the cities in all parts of
the nation, and apart from having
heard music made in them, We have
obtained first-hand information con-
corning their music activities and the
persons more or less responsible for
what has been and is being done.
While there has been discovered a
positive evidence of New York's influ-
ence upon these various music activi-
ties, il is gratifying to be able to point
out that almost every city has shown
selective discrimination. What was
the bad has been rejected.
The Musical Tie-Up.
The daily newspapers have figured
: In this musical development to an
amazing extent. Those of the most
progressive character, recognizing the
tremendous growth of music apprecia-
ton in their communities, have de-
voted adequate space to the worth
while undertakings in their midst.
Their editors are giving more thought
to the engaging of capable reviewers /;
and they have, in recent years, rec
ognized the Importance Of publishing
once every week an account of what
New York is doing unsteady. This
has had a stimulating effect upon the
public of each city. AS a consequence
one now finds the readers of every
such daily newspaper informed. as they
never were before, on matters and per-
sonalities and organizations in which
they have genuine interest.
Cincinnati, Cleveland, Detroit, Min.
neapolis, st. Louis, Los Angeles and
San Francisco have been helped musi-
cally through the great service rem
dered by one great newspaper-or more
than one--in carrying in its principal
edition of each week an adequate sur
yey Of what New York has accomplish
ed in the musical art during the pre-
cedins seven days. So has San An
tonic and many other cities also.
What advertising experts term =
tie-upn has been thus established be-
tween the music colonies OF New York
and the outside cities. And its effect
upon every musical endeavor present
ed in these cities has been highly bene-
fetal. For with a completely informed
public TO consider, the local managers
of concerts or of opera performances
have engaged artists and organiza'
tons with extreme care.
The result is most illuminative. be-
cause one may find, in most OF these
cities, a greater degree of artistic
excellence in a season Of music than
obtains in New York, where the per-
centage of mediocrity is constantly in
excess ofswhat it ought to be.
An Unfair Wall.
Years ago, a certain William A.
Rrsdv looked after the affairs of GER
tain pugilist named James j. Corbett.
For a matter of n quarter of a century
Mr.. Brady has devoted himself to pro-
ducing plays and to theater-managlng:
He is an aggressive individual. and
given TO getting often into the public
print by utterances that usually single
out some person or persons as doing
what Mr.. Brady contends should not
His latest wall is directed at the
Metropolitan Opera Company. He
charges that its management discriml-
mates against Americans. Whoever
accepts the statements of Mr.. Brady
at their face value would assume that
even the exceptional native singer
would find nothing save scowls at any
effort to get past the Metropolitan
managerial door.
1t would have been well had Mr..
Brady investigated matters before let
fling off 50 much oral steam, for he
appears to be shy on statistics. A
count of the principals on the Metro
politan Opera roster discloses that 40
per cent Of them are Americans: more
than of any other single nationality. i.
Although American musicians find
acceptance in their own country more
difficult than they should 1--WE still like
the foreign brand. having been
brought up on it,. facts are facts. And
they disclose a steady progress being
made in all branches of their musical
art-concert as well as operate.
Americans in Their Stride.
At almost the moment Mr.. Brady
was delivering himself of his denun-
eiatorv remarks, Clarence Whitehill
was singing his seasons Metropolitan
farewell in leading role, and Albert
Spalding happened to be PLAYING with
the New York Philharmonic Orchestra
= violin concerto by another Ameri-