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The Baton: Vol. 8, No. 7

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The Baton: Vol. 8, No. 7 Published by THE INSTITUTE OF MUSICAL ART OF THE JUILLIARD SCHOOL OF MUSIC FRANK DAMROSCH, DEAN Vol. VIII, No. 7 15 CENTS A COPY THE BATON THE BATON endeavors to recommend the operas, concerts and recitals of especial worth and interest to music students. Appearances of faculty members, alumni and pupils arc featured FORTISSIMO in these columns. BEFORE THE PUBLIC EORGE A. WEDGE, who was in charge of music, so gloriously rendered. And if you are only the annual Alumni concert held this year on one-quarter part as glad to see me as I am to see e April 29th at the Institute, is to be hailed as you, I am fully content. the stage manager of a very enjoyable evening. The When I wrote to Dr. Damrosch a few days ago Musical Art Quartet played the Beethoven Quartet to inform him of my impending visit, I begged him in G major and the Debussy Quartet in G minor. to keep it a secret. I gave a number of humbug ex- Dr. Damrosch told of plans for a new building to cuses for this, but what I really meant was that if be begun soon in our block which will be the home it became generally known that I was to be here, of both the Juilliard Graduate School and the Insti- not a soul would come here—and that would not have tute of Musical Art. It will please all those who are suited me at all, for I wanted you to be here so that or have been students here to know that our Recital I could see you. Hall will be preserved intact in the new school. Dr. Well, now that I have had my happy hour, I shall Damrosch then introduced the guest of honor, the run along home and resume work upon my new beloved "Papa Goetchius," who spoke the following book, Masters of the Symphony] the last dismal words to a manifestly delighted audience which in- pages of which (devoted to ultra-modern music) will cluded many of his former pupils : be wonderfully brightened by the glow in my heart Dear Friends: enkindled tonight. And then I shall begin at once I suppose you expect me to to look forward to my next say something, and that is quite visit, which I trust will not be natural. But I have nothing Satmt far away. special to say—and that also is Grace Cowling and Constance quite natural. Published Monthly Poolc, candidates for the Now if we were in the class- 120 CLAREMONT AVENUE, NEW YORK Teacher's Diploma of the In- room, I would let loose a torrent Copyright 1929 by stitute of Musical Art, ap- of rhetoric that would stun you. THE INSTITUTE OF MUSICAL ART peared in joint piano recital I would talk about parallel on May 1st. fifths, and consecutive octaves, Editor-in-Chief Mary Jean Cash and Eugene and plaguing—I mean plagal DOROTHY CROWTHERS Kucmiak, candidates for the cadences, and muddleations—I Certificate of Maturity in mean modulations, and a lot Assistant Piano, presented a program more silly things that we used ELIZABETH STUTSMAN together on May 2nd. to joke about in Room A, until Literary Staff Samuel Cibulski, candidate for the walls resounded with our JOSEPH MACHLIS the Certificate of Maturity in innocent mirth. LLOYD MERGENTIME Voice, and Sidney Sukoenig, But when I am expected to be GERALD TRACY candidate for the Artist's serious, and speak sensibly', I Diploma in Piano, gave a feel as lame as Quasimodo, the Business Staff joint recital on May 3rd. Hunchback of Notre Dame; or, CARL MOORE Carl Stern, candidate for the I feel like a fish out of water— EMORY OMAN Artist's Diploma in Violon- and what it means to be out of BENJAMIN SWALIN cello, played his program on water, I mean without water, Art Staff May 6th. when there is nothing else to ELIJAH SILVERMAN Victor Weeks, candidate for the drink—I leave it to your heated RALPH TRAVIS Certificate of Maturity in imagination to figure out. Trombone, will play on the So I shall spare myself, and morning of May 21st. you, and simply declare that I Subscription for Season A Jury comprised of Frank am very, very happy to be here Er'ght Issues, November to June Damrosch, Ernest Hutcheson, $1 00 in the Building tonight: happy to see the dear $1.25 by Mail Mischa Levitzki, David Man- old building; to tread its boards Single Copies—15 Cents nes, Engelbert Roentgen, will again; happy to see so many examine the candidates for good, friendly, beloved faces; Vol. VTTI May, 1929 No. 7 Artist's Diplomas on May happy to hear such glorious 21st. —Lloyd Mergentime. THE BATON <L// ^/Jiodern /^omposer at rr ork A Visit to the Casa zJMhlipiero By DR. H. BECKET GIBBS EFORE leaving New York City for Italy man Basilica. This hallway, flush with the road, last summer I wrote to Malipiero, the com- proved to be on the second story of the house. poser, telling of our approaching visit to From it we descended to yet more refreshing the city of his birth and asking for permission to climes of shade, leading on to the terraced gar- call upon him. On our arrival in Venice a cor- den of several acres which looked over the plains dial invitation, which had been personally left by toward Padua. On this level is the summer din- him at our hotel awaited us. As the object of ing-room where, presently, we, with the Malipiero our meeting was to discuss Monteverdi and I had dogs and a few of the cats and birds, enjoyed a mentioned that I came to worship at the shrine luncheon that was truly Italian. of the "Divine Claudio" I was inclined to believe After that came a visit to the summer work- that the pleasure would be mutual. room where are the precious Monteverdi auto- So we set a date for our visit and after less graph works. Here we spent several hours, first than two hours on a delightful journey by train, with the manuscripts that are occupying most of Malipiero's spare time, and then with hjs own compositions which he unfolded to us with rare modesty after his enthusiastic reverence for the "Divine Claudio." Above, where we entered, are the winter quar- ters of the family, and in the studio on that floor are delightful evidences of Malipiero's taste in the fine arts, other than music. We admired the great d'Annunzio's portrait (for they are devoted friends) and longed to linger over the exquisitely bound books and portfolios filled with engrav- ings and prints, picturing Venice in the great days of that glorious Republic. Tea in true English style was then enjoyed, and as we departed on our return to Venice we were presented with some of those rare engrav- ings as tangible and precious souvenirs of our visit. But more to be treasured than these are the memories of the cool repose of the Casa Malipiero and the charm of La Signora's smile. Malipiero was born on March 18th, 1882, in Venice. His genius having asserted itself at an early age, he studied in Vienna, Venice and Bologna, and soon arrived at the conclusion that the trouble with modern Italian music was two- fold; first, the music drama, and secondly, the Francesco Malipiero influence of the German classics "served up with An Outstanding Figure in Modern Italian a light Wagnerian sauce, to which was added the Composition sphere of usefulness of Wagnerism, implying the we alighted at Treviso where a tram started for complete exploitation of the diatonic system. Asolo. Half an hour was spent in climbing a This, from the second half of the eighteenth cen- steep ascent to this town, which is not only tury, reduced musical language to a succession of famous as Malipiero's home, but also for having 'cadences,' thus permitting the thematic exploi- been selected as the burial place of the great ac- tation termed development." These are his own tress Duse. Within a few feet from her grave lie words, ably translated by La Signora Malipiero, the remains of Robert Browning's son. who is English by birth,—a charming hostess and At the terminal, Signor Malipiero awaited us a woman of remarkable intellectual power. and escorted us to his home which was less than He continues, "There are several ways of prob- a hundred yards away. Entering the hallway ing the future, and in looking back towards the of the Casa Malipiero was like passing from a past, one can perceive gleams which, instead of sun-baked piazza into the dim coolness of a Ro- being vestiges of a light that is vanishing, can be THE BATON the glimmer of one tending towards eternity. himself of everything to be had; he exhausted Even Gregorian music has been militarized dur- the musical language of all times as if it had ing the nineteenth century by subjecting it to the been an orange that he sucked dry; and he left comfortable laws of the diatonic system. The after him a kind of musical famine, for he had best proof that this system is of utility and com- devoured everything. It is for this reason that, fort is to be found in the depressing fact of the after him, only three musical forms manifest birth of the microbe of the amateur in music. themselves; (1) the case of Claude Debussy This, especially in Italy has, by means of opera, (1862-1918) which is bound to remain an isolated completely destroyed folk-song.
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