one pupil is not too much time to devote to so delicate
a subject. An intelligent taskmaster will let his pupil demonstrate ten
or fifteen minutes and during the same period of rest will discuss and
awaken the pupil's interest from an intelligent point of view, that some
degree of individuality may color even the drudgery of the classroom. A
word of counsel from such a mistress of song as Lehmann or Sembrich is
priceless, but the sums that pour into greedy pockets of vocal
mechanics, not to say a harsher word, is a regretable proceeding. Too
many mediocrities are making sounds. Too many of the same class are
trying to instruct, but, as in politics, the real culprit is the people.
As long as the public forbear an intelligent protest in this direction,
just so long will the studios be crowded with pathetic seekers for fame.
What employment these infatuated individuals enjoyed before the advent
of grand opera and the movies became a possible exhaust pipe for their
vanity is not clear, but they certainly should be discouraged. New York
alone is crowded with aspirants for the stage, and their little bag of
tricks is of very slender proportions. Let us do everything in our power
to help the really worthy talent; but it is a mistaken charity, and not
patriotic, to shove singers and composers so called, of American birth,
upon a weary public which perceives nothing except the fact that they
are of native birth and have no talent to warrant such assumption.

I do not think the musical observers are doing the cause of art in this
country a favor when columns are written about the inferior works of the
non-gifted. An ambitious effort is all right in its way, but that is no
reason to connect the ill-advised production with American hopes. On the
contrary, it does us a bad turn. I shall still contend that the English
language is not a pretty one for our vocal exploitations, and within my
experience of the past ten years I have heard but one American work
which I can sincerely say would have given me pleasure to create, that
same being Mr. Henry Hadley's recently produced _Cleopatra's Night_. His
score is rich and deserving of the highest praise.

In closing I should like to quote again from Mme. Lehmann's book an
exercise that would seem to fulfill a long-felt want:

"The great scale is the most necessary exercise for all kinds of voices.
It was taught me by my mother. She taught it to all her pupils and to
us."

Here is the sca