Foreign Débuts
"Unfortunately, a foreign début seems to be necessary for the artist who would court the favor of the American public. Foreign pianists get engagements long before their managers in America ever hear them. In the present state of affairs, if an American pianist were to have the ability of three Liszts and three Rubinsteins in one person, he could only hope for meager reward if he did not have a great European reputation behind him.
"The condition is absurd and regrettable, but nevertheless true. We have many splendid teachers in America—as fine as there are in the world.
"We have in our larger cities musical audiences whose judgment is as discriminating as that of the best European audiences. Many an artist with a great European reputation has come to this country, and, failing 'to make good' in the judgment of our critics and audiences, went back with his reputation seriously impaired. Nevertheless, as I have stated, the American artist without a European reputation, has no drawing power and therefore does not interest the managers and the piano manufacturers, who nowadays have largely supplanted the managers. This being so, I can only advise the American artist to do as others had to do. Go to Europe; give a few concerts in Berlin, London, Vienna or Paris. Let the concert director who arranges your concerts paper the house, but be sure you get a few critics in the audience. Have your criticisms translated, and get them republished in American papers. Then, if you have real merit, you may get a chance.
"The interest in music in the United States at the present time is phenomenal. European peoples have no conception of it. Nowhere in the world can such interest be found. Audiences in different parts of the country do not differ very greatly from the standpoint of intelligent appreciation. When we consider the great uncultured masses of peasants in Europe and the conditions of our own farmers, especially in the West, there is no basis of comparison. America is already a musical country, a very musical country. It is only in its failure to properly support native musicians that we are subject to criticism.
Practical Suggestions
"To the young man or woman who would learn 'The Secret of Public Appearance' I would say:
"1. Look deeply into your natural qualifications. Use every morsel of judgment you possess to endeavor to determine whether you are talented or simply 'clever' at music. Court the advice of unbiased professional musicians and meditate upon the difficulties leading to a successful career, and do not decide to add one more musician to the world until you are confident of your suitability for the work. Remember that this moment of decision is a very important time and that you may be upon the threshold of a dangerous mistake. Remember that there are thousands of successful and happy teachers for one successful virtuoso.
"2. After you have determined to undertake the career of the concert performer let nothing stand in the way of study, except the consideration of your health. Success with a broken-down body and a shattered mind is a worthless conquest. Remember that if you wish a permanent position you must be thoroughly trained in all branches of your art.