Gardner-Webb University Digital Commons @ Gardner-Webb University The Etude Magazine: 1883-1957 John R. Dover Memorial Library 2-1-1906 Volume 24, Number 02 (February 1906) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 24, Number 02 (February 1906)." , (1906). https://digitalcommons.gardner- webb.edu/etude/511 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The Etude Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE PUBLISHER OF THE ETUDE WILL SUPPLY ANYTHING IN MUSIC Copyright 1906 by Thbodorb Presser VOL. XXIV. PHILADELPHIA, PA., FEBRUARY, 1906. NO. '2. The Advent of Endowed Institutions in American Musical Education Including the views of DR. FRANK. DAMROSCH, Director of the Institute for Musical Art of New YorK, upon Conservatory Conditions in America and in Europe By JAMES FRANCIS COOKE I A Eteview of Musical Education. that we have to thank for the most impor¬ With the great intellectual awakening which tant part of the education of Edward Mac- electrified all Europe, following the discovery Dowell. The munificence of other public-spirited of America, Italy, “the mother of Columbus,” men in Europe has been the means of assisting manifested her pride by various enterprises many an American student. These endowments, which have now become little more than dreams however, are but trivial beside those of the thou¬ of her glorious days. In the year 1537, in sands of musicians who have so liberally con¬ Naples, the conservatory, “Santa Maria di tributed their golden hours to students—never Loreto,” was founded. The first music school expecting any monument more permanent than came into existence nearly five hundred years the consciousness of the perpetuation of the later than the first university—that of Salerno, ideals for which they have spent their lives. It which was founded in 1000. The Naples Con¬ is to these benefactors and philanthropists across servatory was an eleemosynary institution in the seas, that the American musician bows with that its pupils were mostly orphans. gratitude and reverence. The real philanthro¬ The following century brought forth a State pists are men of the type of Franke who, in 1695, music school in Lisbon, Portugal. In 1771, a with a capital of $2.80, founded in Hall6 an in¬ State music school was founded at Stockholm. stitution which has taught 118,000, and has to¬ Just as the United States was recovering from day 3000 children under its care. the terrible effects of the Revolutionary War, How, indeed, are the easily-spared millions of France founded the National Conservatory in a Carnegie or a Rockefeller to be compared with Paris. A little later, in Germany, through the the endowments of a Schubert, a Pestalozzi, or a enthusiasm of Joseph Froelich, a humble teacher, Horace Mann—who gave not a little from a great the splendid mediaeval city of Wiirzburg founded fortune to the cause of education, but their very the first German music school, one which is still lives, that the world might be bettor! These are the greater benefactors of mankind. in flourishing existence. Other famous music schools were found in the following years: At last the endowed conservatory on a large scale has made its appearance upon our shores. Prague, 1808; Vienna, 1817; Brussels, 1813; Warsaw, 1821; Royal Academy of England, Through the executive ability of Dr. Frank Dam- rosch and the public spirit of Mr. James Loeb, 1822; The Hague, 1826; Berlin, 1822 (Church the United States now has a music school with Music Institute, 1833, for compositions; for an endowment fund of $500,000 and the assur¬ practical musicians, 1860) ; Dessau, 1829; ance of further financial support equal to and, in Leipzig, 1843; Munich, 1848; Rotterdam, 1845; the majority of cases, greater than most Euro¬ Cologne, 1850; Stern Conservatory (Berlin), pean music schools. An endowment of 2,000,000 1850; Darmstadt, 1851; Strassburg, 1855; marks for a music school would create an up¬ Dresden and Stuttgart, 1856; Frankfort and roar in musical circles in Germany; but in Florence, 1860; Amsterdam, 1862; St. Peters¬ America the great plethora of money has so burg and Christiania, 1865; Copenhagen, 1866; minimized the real importance of the event that Weimar, 1872; Hoch Conservatory, Frankfort, musicians seem to have taken little cognizance 1878. This list, while not altogether complete, of the element which will certainly have a most outlines the development of European musical powerful effect, not only upon the art develop¬ educational work from the institutional stand¬ point. ment of America, but a direct effect, no matter Endowed Institutions. how slight, upon the business of every individual Most of these schools w’ere either State schools, teacher on this side of the Atlantic. Not many years semi-State schools, or endowed schools. Notwithstand¬ It is this very permanence which an adequate en¬ can pass !>efore the rivalry of other cities in America ing the success of the Stern, Kullak, Klindworth, dowment confers upon a school, that is the most ad¬ vantageous characteristic of such institutions. It will lead to the foundation of music schools with sub¬ bchanvenka ynd other private conservatories, it may stantia) endowments. The munificence of Mr. James readily be seen from the above, that musical educa¬ tends to distribute the interest formerly concentrated Loeb in founding the “Betsy Loeb Fund” and the re¬ tion, so far as conservatories are concerned, has been in the chief owner, among all the teachers engaged. It gives each teacher a feeling of security which he sultant Institute for Musical Art of the City of New largely dependent upon outside assistance. A pri- cannot associate with institutions destined for more York will have an influence more far-reaching than it 'ate music school depends largely upon the interest, transient existence. It is somewhat difficult to esti¬ is safe to predict. It is obviously to the interests of enthusiasm and judgment of its principal owner or mate the effect upon the music of the last century all musicians, students and teachers, to study these founder. With the death of the founder or prime- of the direct contributions of such men as Dr. Hoch— conditions and to exercise all possible foresight in mover, the school loses its motive power, as it were, who "ave his fortune to found a conservatory in order that their art-work may be broadened in and few private schools have been able to continue sympathy with the new movement. under other management. Frankfort—and others. It is the Hoch Conservatory THE ETUDE 59 58 the ETUDE particularly the works ot Palestrina, his conk®, THE PIANO’S SOLILOQUY: A ROMANCE. September 15th.—No lessons today. I have had an¬ To make the matter clear, the two ways of using poraries and his predecessors, have led to the >r other wrenching to be “brought up to concert pitch.” the pedal can be explained as follows: Play the Public Opinion. Opm la Ke» York, i« «•«■* BY C. W. FULLWOOD. was so potent that its influence is stlll ac“V ^- k fection” of a singing society which the writer feels Egad! I’d like to pitch that tuner into the Hudson chords c—e—g, c—f—a, d—f—g—b, e—g—c in the River. What, for instance, will be the effect of endowed in America. His wife, recently deceased mNew is superior to the best European organizations of right hand with octaves c, f, g, and c in the left September 1st.—O, dear, here 1 have to wake into music schools upon the public opinion and upon the was lielene von lleimburg, a prominent singer, similar intent, judged from the standpoints of cuu September 10th.—Great time at the musicale last hand. Count one, two, three, four to each chord. life again after the sleep of vacation, in a deserted general culture of America? It may be sale to as- was the fortunate parentage of Frank a scientiousness of execution, quality and balance of night. Prof. De Swatem played one of his composi¬ 1. Put down pedal with one, and let it up just after house! I admit it was rather lonely at times, but Humc that in thin country 00 per cent, of the popula¬ tone, individual intelligence of the members and tions—.something between a two-step and a nocturne. four, each measure; this fconstitutes pedaling with the quiet and rest was pleasing to my wiry nerves. tion throughout the length and breadth of the land UTteTntluenee upon their lives is continually mani¬ “esprit du corps.” This society alone would have Miss Falsetto sang about “My love lies dying in a the changes of harmony. Contrary to nature’s habits of animals, trees and still regard music us a very lovely but cosily dis- fest. The early educational work of Dr. Frank ^ made a permanent reputation for Dr. Damrosch as an foreign land.” Wonder if he was in a barber shop! 2. Put pedal down with the first one and release lienaalde accomplishment. 'i'iiat the art has any real roach was, strange to say, not conducted under Con exponent of the highest and best in musical art. plants I lie dormant in summer, while all outdoors O, yes, the lover was here, and he played a violin it just after the second one, putting it down again ini|)ortnnce in general educational work; that it servntory methods, but.