The Royal Academy of Music [stub]

Henry C. Lunn
1866 The Musical Times and Singing Class Circular  
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more » ... out Early Journal Content at http://about.jstor.org/participate--jstor/individuals/early-journal--content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not--for--profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact support@jstor.org. I sras speaking (he says) this morning to a person who was educated at Leipsic, and I found that the pupil9 there do not get the amount of lessons that we give them, and they are obliged to get private lessons as well. They have nominally orchestral practice once a week, but they have no teaching in wind instruments, nor even contra-bass. Again, as to the employment of orchestral performers, who are not students, at the Concerts of the Royal Academy of Music-a point made the utmost of by the public press-from the evidence given by Mr. Chorley, we extract the following: At the Conservatoire of Paris the performances are helped by the best possible talent out of the Academy that is attainable-otherwise theywould be as lame in orchestral esecution and in solo singing as I have freqllently heard them in the choruses the students prepare. On the same subject Mr. John Hullah gives some valuable testimony; and as a statement of facts is always better than a statement of opinions, we extract this portion of his evidence: Do you think it advisable generally to encourage performances in public by the pupils before their education i8 finished ?-Yes * if it is quite understood what the performances and who the performers are-that the latter are merely pupils and not professors. That matter has been so little understood hitherto that comparisons have actually been made between the performances of the pupils in the Royal Academy and those of the members of the Societe des Concerts, of Paris ! the one given by unfinished pupils, and the other by some of the first performers in the world, who have, in many instances, been playing together for 30 or 40 years. Do the performances of the Paris Conservatoire include the whole of the students ?-Certainly not; except perhaps as regard the choruses. Are the members of the orchestra all former students ?-I believe all are former students, but the creme de la creme of them. Taking a general survey of the Conservatoire orchestra, I should say there is not a man in it under (say) 40 years of age.
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