Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-10-05

cases and ambitions, it seems only
right to wish them the most pros
porous of seasons, as well as the
schools and colleges in which
they are being taught. Also, since
George Engles predicted that the
willing trend of business had
nothing to do with the festive
music plans of the year, one hopes
that well wishing, but pecu-
niarily downhearted parents will
not bring out the switch to keep
their children away from the lyric
hauntS to which they had been
accustomed.
All this is brought to mind in
view of the fact that many people
forget the all-importance of the
education of youth as far as the
arts and manners of music are
concerned. Washington, however,
more perhaps than any other city,
considering its irregular bounda-
rieS, seems to be keenly alive to
this fact. Already scales and me-
trical disSonanceS may be heard
floating in the autumnal breeZeS,
and publicity trumpets have blast
ed forth from every musical salon
to announce that their meritori-
Gus activities have been resumed.
A veritable bulwark of instructors
and pupils has become part of
the city, coming, it would seem,
from every land. The famed mu-
sicians that are announced as Wis
iting in one school or another
during the Winter have assumed
the proportions of a visiting Pa
risian Conservatoire.
~
In the matter of musical educa-
ton for the young and hopeful,
there is one outstanding person.
age-not of this city-of whom
one cannot help but think at this
time. Ernest Schelling, called "the
musical godfather of Americas
younger generation" is about to
resume his children's concerts
with the New York Philharmonic
Society for the eighth season.
The success of these concerts has
widened Mr.. Seedlings scope of
activities so that now he has to
travel to Boston and to Philadel-
phia to repeat his educational
programs for the oncoming gen.
Grafton. In addition, he has
promised this year to give four
symphonic concerts for young peo-
pie in Montclair and Orange, N. ].
Mr.. Seedlings innovations in
methods concerning the teaching
OF children have attracted wide |
attention and much favorable !
comment. Although it is no myth !
that children of tender age are
first taken to these concerts with
battle in their eyes and numb
ness in the iron grip of the par
ent, 1t is also true that after
few doses Of Mr.. Seedlings mu-
Modified but somewhat eager to
return-and do, as the box-off1ce
records would seem to indicate.
Recently this important artist
and educator explained some Of
his ideas. He said:
TN this age of mechanization,
1t rests with the intelligent lis
teners as to whether or not the
great institutions for furthering
the highest in music, such as the
symphony orchestras, shall con-
tinue to exist. To my mind, our
orchestras should not be support
ed by wealthy music patrons. My
dream for the future is that each
listener shall desire to take his
share Of the responsibility of
maintaining the symphony Or
chestras.
ITO develop this type of lis
tener one must start with the
children. Children's natural de-
sire for music shows itself con-
Stantly, but few have any oppor-
tunity to hear the best, especially
orchestral music. The child's
thirst for good music should be
encouraged. He should be taught
in as simple manner as possible
the makeup of an orchestra, the
different instruments and their
place in the orchestral picture,
the Interpretation Of the master
pieces, stories about the compoS-
ers, their lives, ambitions, achieve
mentS and compositions. All this
will broaden the child's outlook on
music, stimulate his interest. To
inculcate in child a love of
beauty will have permanent re-
suits for the individual and for
music IN general.
The children of today are the
audiences of tomorrow. Upon
them the future of music in the
United States largely depends"
operate circles were disturbed
recently by the cold water thrown
on them by John Erskine, presi-
dent of the Juilliard School of
Music. Said Mr.. Erskine about
the opera: II see no future for it,
and I don't think it has even a
present.; and with that he dis
missed the now ruffled art rather
peremptorily.
The Musical Courier, rising to
arms, answered this editorially
with the choice words: Mozart.
Gluck, Weber, Gretry, Rameau.
Auber, Verdi, Puccini. Strauss and
Wagner thought differently and
so do Messrs. Gatti-Casazza and
Otto Kahn" And so, inciden-
tally, do Washingtonians, If one
remembers the siege at the Fox
Theater last Spring when the
Metropolitan came to town. There
is very little question that in this
vicinity the opera causes some
thing of a pandemonium. Whether
because of it's infrequency or be-
cause 1t is novelty in the form
of entertainment, or whether, in
deed, because even the roaring OF
the radio has not been able to de-
Stroy its charms. At any rate, If
the local cohorts of enthusiasts