No doubt the serious teacher, who may be occupied in any branch of
musical activity, has often pictured to himself what an ideal
institution of musical art might be like, if all students assembled
should study thoroughly their particular instrument, together with all
that pertained to it. They should by all means possess talent,
intelligence, industry, and be far removed from a superficial attitude
toward their chosen field. The studio used for instruction in this
imagined institution, should also be ideal, quiet, airy, home-like,
artistic.
Some such vision perhaps floats before the minds of some of us teachers,
when we are in the mood to dream of ideal conditions under which we
would like to see our art work conducted.
It has been possible for Mr. Herbert Witherspoon, the distinguished
basso and teacher, to make such a dream-picture come true. For he has
established an institution of vocal art--in effect if not in
name--where all the subjects connected with singing, are considered and
taught in the order of their significance. Not less ideal is the
building which contains these studios, for Mr. Witherspoon has fitted up
his private home as a true abiding place for the muse.
At the close of a busy day, marked like all the rest with a full
complement of lessons, the master teacher was willing to relax a little
and speak of the work in which he is so deeply absorbed. He apologized
for having run over the time of the last lesson, saying he never could
teach by the clock.
"I do not like to call this a school," he began, "although it amounts to
one in reality, but only in so far as we take up the various subjects
connected with vocal study. I consider languages of the highest
importance; we have them taught here. There are classes in analysis, in
pedagogy--teaching teachers how to instruct others. We have an excellent
master for acting and for stage deportment: I advise that students know
something of acting, even if they do not expect to go in for opera; they
learn how to carry themselves and are more graceful and self-possessed
before an audience.
"The work has developed far beyond my expectations. There are over two
hundred students, and I have eight assistants, who have been trained by
me and know my ways and methods. Some of these give practice lessons to
students, who alternate them with the lessons given by me. These lessons
are quite reasonable, and in combination with my work, give the student
daily attention.
"My plan is not to accept every applicant who comes, but to select the
most promising. The applicants must measure up to a certain standard
before they can enter. To this one fact is due much of our success."
"And what are these requirements?"
"Voice, to begin with; youth (unless the idea is to teach), good looks,
musical intelligence, application. If the candidate possesses these
requisites, we begin to work. In three months' time it can be seen
whether the student is making sufficient progress to come up to our
standard. Those who do not are weeded out. You can readily see that as a
result of this weeding process, we have some very good material and fine
voices to work with.
"We have many musicals and recitals, both public and private, where
young singers have an opportunity to try their wings. There is a most
generous, unselfish spirit among the students; they rejoice in each
others' success, with never a hint of jealousy. We have had a number of
recitals in both Aeolian and Carnegie Halls, given by the artist
students this season. On these occasions the other students always
attend and take as much interest as though they were giving the recital
themselves."