Evening star., 1933-06-25
ME month of June is devoted
to the musicians of the fu-
ture. and during these few

to the musicians OF the 1u-
ture, and during these few
weeks the attention is TO
cuSed on their talents, their prog
reSS and the methods used to fit
them into some artistic mold. The
numerous student recitalS bring
them into the spotlight in their
various stages of evolution and
give the doting family anC ad-
miring friends an opportunity to
visualize the performer as fu-
ture artistic with the reSoundlng
applause which greets his today's
performance duplicated from a
wider and more important pub
lie 1t also gives the rival aSpirant
q chance to envy or a chance to
sniff and in either case to receive
a squirting on to further endeavor.
whether the impulse is noble or
ignoble in origin. For the one
whose eyes have not become
1nyopic through affection or self
concentration and whose vision
searches the far horizon. these
recitalS of the month of June
bring much to think about.
There is, first of all. a feeling
of enthusiasm for the amount of
real talent that these recitals dis
close, with a Sprinkling of dis
couragernent at the hopeleSsnesS
of some of the other; that is,
shopeleSSneSS as regards outStand-
ting artistry, although good muSi-
clans they can become There is
sastonishment at the variety of
roads that are followed on the
way to Rome, the sound resistance
of many and the apparent OBJ
1iviouSneSs to the need of repair
for some. There is wonder at the
complacency that wraps up much
of the musical efforts as in cello
phane substance and admiration
for the sincere and unyielding
attitude Of others.
Public appearances such as
these try the metal of the stu
dents. When one pauSeS to reflect
how far reaching the musical edu-
cation of these students will be,
how they are the bricks and ce-
ment that are building up the
musical edifice of this country,
one will realize how important it
is that each of them should have
the proper substance and resist
ance to uphold his small corner.
Although many of them will not
carry their musical education far,
their influence may be very
potent in guiding a future musical
personality Thus, in these re-
citalS one can gauge the genuine
ness of the love and understand
ing of music.
In the making of these future
artists or even in the developing
of good musicians, the two OBJ
jectiyes of musical education
technic and interpretation-rivet
the attention. The ordinary def
milton OF these two qualities is
clear in every performer and
teachers mind. Naturally, inter
probation is the raiSon d'etre of
music and its chief value as re-
CARDS the eXecutant and listener
alike.
Without doubt there is con-
stantly present the wish to de-
velop the spiritual side of the stu
dent and to aid him to arouse in
his audience an appreciation of
this same angle. Unfortunately,
this high approach to musical art,
which is the very summit of ar
tistry, is valueless and fruitless
sunless closely allied to a perfec-
'tion of its terrestrial relative-me-
Chanical technic. 1t is impossible
to give form to a poetical idea or
elevated feeling if the means of
transmission is faulty. There are
examples of great artists whose
technic has been questionable, yet
who have held their listeners en-
thralled, but they are exceptions
that prove the rule. These mas
ters have been gifted with such
a high, faultlesS perception of
beauty and such a strong power
of communication that their in
terpretationS gloWed with a blind
ing light and completely obscured
defect of workmanship. A mis-
take of a genius is more forgiv-
able than that Of one less bounti-
fully endowed No unevennesS of
tone quality, bad intonation,
fumbled pyrotechnics or pounded
climaXes can ever convey an in
spring or uplifting sentiment.
Beauty of quality must go hand in
hand with beauty of thought
The ideal method of musical in
Struction would be to make inter
probation the only objective. This
would be possible in some cases.
II the picture is clear enough in
the mind, If the proper tone quail
ity and exact effect is unshakably
registered, then the earnest striv-
ing to reproduce the mental image
would bring about proper technic.
Transmission OF the inner
kernel of music requires illimit-
able broadnesS of vision, warmth
and strength of soul and self
Enactment. Judgment from a
purely personal standpoint must
be put aside unless a life expert
ence has been unusual and the
glance reach the four corners of
the earth. There must be an un-
derStanding of the meaning Of
simplicity. happiness, eXaltation
and repose or the darker oppo-
sites, sorrow, remuneration,
despair, bitterness and revolt.
How to bring the color of these
complex emotions into the calm,
self-satisfied minds Of many tai
ented students is the earnest
teachers great problem. GeniuseS
seem born with a complete grasp
of the croSs-weave of life, but 10
the more ordinary mortal it is
only through the Imagination and
inner contemplation and educa-
tion that tha artistic reproduction
of such sentiments can be OBJ
tanned.
The exacting necessity of a duo
fold perfection. highly developed