EDUCATING THE MASSES.

THE MUSICIAN who refuses to make certain concessions to the public gives proof of courage, but not of wisdom. One cannot expect to go before an audience and sing over their heads, and by so doing educate them up to one's own standard of music.

You must reach down from your lofty ideals and meet the public on its own ground.

For example, in creating a love for the grand opera (which the people, especially of the west, up to a few years ago have had no chance of hearing), you must proceed gradually, carefully and with tact.

Teachers of voice culture should organize grand opera study clubs, give concerts, using selections from the popular grand opera—I mean by popular grand opera "Il Trovatore," "Carmen," "Faust," etc. These operas contain airs that are attractive, and can be followed by the masses.

It would not be long before the grand opera would share honors with the now flourishing musical comedy in the affections of the music-loving public, and the term "grand opera" would not sound to them like a "bugaboo."

In Brooklyn one afternoon I passed a number of boys coming from school, and was astonished to hear them whistling "Tannhauser." While this would be quite natural in Europe it is rather unusual here, where the popular song has the upper hand with the young folks. I made inquiries and found that a phonograph had been installed in the school and that every morning the pupils listened to selections from the grand operas. My already good opinion of the value of the phonograph was strengthened, as I fully realize what effect hearing good music in the public schools would have on the coming generation.

In order to fully appreciate a difficult composition one must have made a study of music, same as a doctor, in order to appreciate a lecture on some intricate subject about his profession, must have made a study of that profession.

The painter sees in a great painting the beauties of execution that entirely escape the eyes of the uninitiated; yet the musician will go before an audience of whom two-thirds have probably never studied music at all, and expect them to appreciate the classical music, and because they do not, he would brand them as unappreciative, absurd; he expects the impossible.

The average audience does not care for the name of a composition as long as the music appeals to them, and this is generally a matter of how it is interpreted.

The power of a beautiful interpretation does not make itself felt in singing classics alone. Many persons harbor the notion that interpretation relates to the work of the dead masters only. This is not true. The simplest song needs interpretation, as well as the oratorio or opera and the difference between good and bad artists is largely a matter of interpretation. A simple song that emanates from the heart and soul, will have a reciprocal effect on others and will outlive all sermons in the memory.

The average audience goes to the concert, not to be educated, but to be entertained. Entertain them, interest them, win them and they will come again.

After you have endeared yourself to them, you can begin to sing more pretentious music, and before they realize it, they are listening to and enjoying the works of the great masters.

I have seen a vast audience go to hear Patti sing "Home, Sweet Home," and while listening they became acquainted with other songs, that by hearing again and again, have helped to educate them to appreciate the better music.

I love the "oratorios" and "grand operas" particularly. They are part of my life. But I do not expect all with whom I come in contact to feel the same.

I have seen more people asleep at a piano recital than I have at church, and I did not blame them, when some amateur would be wrestling with a twenty-page selection of which he had not the slightest conception, with the exception of being able to read the notes and find them on the instrument.

Let us not become so blinded that we can see only one way—our way.

In educating the masses let us not begin by driving them away with compositions which they cannot understand.

Art has no fatherland, and all that is beautiful should be prized by us, no matter how simple or what clime or region produced it.

When you hear someone dwelling on the fact that Mansfield did not ask his audience what play they wanted, neither did Patti ask them what she should sing, the argument is ridiculous. Bear this in mind: The audience did not go to hear "Il Barbiere" or "Peer Gynt," they went to hear Patti and see Mansfield, and what they rendered was only incidental to the fact that they were Patti and Mansfield, people in whom the public was interested. But while they were listening to these artists they became acquainted with the better works.

So leave it to the "finished artist" to produce the great works. You are an amateur and have your little share to do in educating the masses. Don't begin by giving a difficult program. Sing something simple, that you are perfectly familiar with, and don't be afraid of the new compositions. It is surprising that even old singers fear a new song. Select something with pretty melody and rhythm and you are perfectly safe.

Always be on the lookout for something you can identify with yourself, just as the artists all have some favorite song.