Nappanee High School - Napanet Yearbook (Nappanee, IN)

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THE TIGER Liveth”. Lind was a lark that soared with the blue with her song. Patti was a delightful warbler among the flowers in the garden. What of .fenny Lind the womanf She was a girlish figure medium in height with fair hair and light blue eyes. Her features were plain and somewhat coarse and in repose there was a lack of svmetry, but while singing her face was most fac-inating. Her gait was grace itself. There was music in her very looks and motion. While deliver ing her songs her face seemed to be transfigured and to gain a beauty which was not manifested in repose. In her dress she was very simple and plain. In her experiences in matrimonial scandals, no hair-breath escapes no jewel robberies. She had all the characteristics of a plain woman indeed. She was ••Jenny” with every one. not Signora Lind or Mile., Lind or Miss Lind, but plain Jenny Lind. After her arrival at New York, the stores were full of Jenny Lind bonnets, gloves, coats, hats, and fineries of every description. Her portraits were in every shop window. The choice dishes xf hotel menus were a la Jenny Lind. There were Jenny Lind stages, and steam boats, cafes and coat rooms. All the girls of that day imitated her coiffures, and costumes, and many of them sought to imitate her gait. One enterprising hardware dealer advertised, 11 Jenny Lind tea kettles which, being placed on the fire, commence to sing in a few minutes” This not only in New York but every place all over the country. In 1852 she was married to Otto Goldschmidt, who was conducting the Bach Choir at that time in Boston. Her married life was a very happy one. She afterwards left the stage for good only appearing at intervals for some charitable object. MUSIC—AN INTERPRETATION OF LIFE MARION BREVIER CARLYLE has said: “Music is a kind of inarticulate. unfathomable speech, which leads us on to the edge of the infinite”. Of all the forms of art which genius has devised to make our lives more beautiful, there is none which is so intimately associated with our every experience; none which is such close sympathetic touch with every phase of life’s emotions, dreams, and aspirations, as music. There is no one who has not felt, and has not been gratified to find, their various moods and emotions expressed in the strains of great music. One might ask—Is there a real need—a human need for music in every-day life? What is one of of the main objects in life? Everyone will agree that one great aim in life is happiness. But, we must then ascertain what can produce real happiness. The artist and philosopher would say that happiness comes through the appreciation of beauty. The minister would say that happiness, from his view point, comes through useful service. In the first case, beauty does not mean that sort, which appeals to the eye alone—but, in order to obtain the deeper meaning, we must comprehend that supernatural beauty which comes to us through the creative mind of the artist. In this respect, the artist is closer to God. than the rest of mankind, and, being gifted with a vision of beauty, which the ordinary world has not yet perceived, he is able, through his art, to make that vision real to the world. Music, which truly comes from the soul of the artist, uplifts the soul of interpreter ami makes him have higher aims and better ideals. Thus we find that the composer and interpreter serve humanity, since by hearing this music thousands are helped and inspired to greater things. Music is well named a Lniversal Language, not only because it is understood and felt in every land, by every race, but because it voices, and to some extent influences, the universal experience of all by every race, but because it voices, and to some it is also a national language; for, each nation has music which characterizes the life of its own people. This music, which we term as “folk-music”, owes its existence to the characteristic compositions of a few individuals. These themes are worked out by the composer in such a way, that they express his emotions, and perhaps his national sentiment, which the composer has attempted to convey, and readily adopt it. The general idea concerning folk-music is, that it is the sort of music which is composed and used, chiefly, by a certain class of people and therefore it does not escape from this limited realm. This is not altogether true; for the folk-songs of some na tions have been used by famous composers, of other nations, in their compositions which have inspired the whole world. This is particularly noticable in the case of Hungarian folk-music, which has provided material not only for native composers, but also for Germans, Hadyn made good use of folk music and in more recent times. Liszt collected a great number of the Magyar melodies, as played bv the Gypsies, and used them in the themes for his Hungarian Rhapsodies. Schubert also was so charmed by the Magyar melodies that he copied some of them and used them in his works. Of all European countries, Germany probably has the greatest number and variety of good folk songs. Pa e Thirty

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NAIM’ANEK SCHOOLS devices will turn tricks that makes its wayard brother. Speculation, grow green with envy. Keeping an account of all transaction, large or small will enable people to cut down unnecessary ex pense and thus save the dimes which will make the dollars. The unwise, however think it is too much bother to keep accounts of their small transactions. They are the people who at the end of the year, Don’t. see where all the money goes to ’ If people who buy cheap goods, machinery, cattle, and horses, kept account of their expenditures and losses on such goods they would know’ where their money went. People who make things go always nay, “Keep an account, ami next year profit by last year's mistakes. Follow this practice and it will lead you to the road to success”. Thrift should be made a national habit and give the people a share in the governmental returns. Plans are under way for a Mail Order Hank, and, with government supervision it is sure to be a success. If we follow Great Britain’s example of selling ship building bonds to every five dollar investor or if the people would invest in a Mail-Order Banking house, the money which they send to Mail Order Houses, our government could soon float a new Merchant Marine; for some Mail Order Houses have a yearly income of one million dollars. Such a sum could be put to good governmental use. THE SWEDISH NIGHTINGALE FLORENCE VOLKMAN JENNY LIND was born at Stockholm in 1820 of humble parentage. In her childhood she gave evidence of her power of song and at the age of nine years she was sent to the Stockholm Conservatory of Music, being the pupil of Croelius and Berg. At the age of twelve her voice showed signs of contracting on account of being put too soon to public practice. Four years later it recovered it’s full power when she appeared as “Alice” in “Robert le Dialbe”. Her voice w’as a soprano of exquisite purity, and symponic in quality. Its tone was so pure that her faintest pianissimo was distinctly audible in the largest concert room and at the same time so full and powerful that she could easily cope with the strongest orchestral accompaniment. Her upper register was unusually rich and effective but her lower did not correspond in quality. She improvised her own cadenzas, which were always in exquisite taste. There had been voices of greater power but none of greater pruity. Her singing was as pure, joyous and spontaneous as that of a bird. She seemed to sing more because she liked it than because others liked it. Her pianissimo was perfect. Her control of breath was so perfect that she sustained tones with the utmost ease and naturalness. Summing up her qualities, I should say that her voice united strength to a very remarkable degree, with depth of feeling, delightful sweetness, and delicate refinement. At the age of thirteen years she arrived at New’ York, September 1, 1850, and gave her first concert at Castle Garden. Her supporting artists were Sir Julius Benedict, her leader; Signor Beletti, baritone and Richard Hoffman pianist. These men were especially engaged in New York for the tour. Her numbers on the program for the opening concert were “Cast a Dira” from Norma. “The Herdsman’s Song’’ popularly known as the “Echo Song”. She sang a duet with Beletti, “ Perpiacer alia Signora”, and a selection from “Meyerber’s Camp in Silesia” lor voice and flutes. During her first tour in America under Mr. Barn-urn’s management she sang in the following cities; New York, Boston, Providence, Philadelphia, Baltimore, Washington, Richmond, Charleston, Havana, Mantanzas, New Orleans, Natchez, Memphis, St. Louis, Nashville, Louisville, Cincinnatti, Wheeling and Pittsburg. She gave sixtv-two concerts be tween June and December of 1851. Premiums paid for her choice seats were $3,590. In regard to her rank as an Artist, the testimony of some of her contemporaries may be of interest. Chopin said of her: “She does not show herself in ordinary light but in the magic rays of the Aurora Borealis. Her singing is infallibly pure and true and has an indescribable charm”. And Lablache, “I can say I have never heard anything like her singing. Every note was a pearl.” And Clara Schumann: “What a great Heaven-inspired being she is! What a pure, true artist-soul! Her songs will ever sound in mv heart.” And Mendelssohn: “She is as great an artist as ever lived and the greatest I have know’n ”. Surely these should know. In making a comparison of Jenny Lind as a singer with one of our time the name of Adelina Patti inevitably suggests itself. Patti when she was a girl heard Jenny Lind sing and imitated her. If not the greatest artist Patti was unquestionably the supreme vocalist of her day. The difference be tween the singers was that of personality. Patti’s tone was very clear and pure, she was absolutely self-possessed ami sure of herself but with all her vocal ability it would have been impossible for Adelina Patti to sing, “T Know That My Redeemer Pa ?e Twenty-nine

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NAPPANEE SCHOOLS This music lias come down to us, by no means in its own original form, owing to the fact that it is anonymous and frequently undergoes slight changes. It was affected by contract with art-music, which gradually polished it. removing the rough characteristic touches. Since these changes have occurred, Germany has set the standard for modern music. It has been the Mecca of the musical world. No other country has ever produced a greater number of renowned composers ami musicians, whose works have stood the test of time. A great deal of the music which has been written by famous composers of Germany, contains that deep, heavy, martial air which is characteristic of the people of that country. It is full of deep meaning: not of pathos, but—we might say, romance and reverence. Some of the most beautiful melodies ever produced, have been adapted to church hymns, and were composed by Weber, Mendelssohn, Beethoven and Hayden, all illustrious German musical poets. I nlike the German music, that of Italy, France, and Spain, is of a light, airy type used especially as accompaniments for dances ami popular songs. It portrays vividly the disposition of the people of these countries; that nervous temperament, quick action and dramatic touch is easily detected. Much of the great music, representing these nations, has been in the form of operas. Spain has never produced a composer of very great renown, while Verdi, well represents by his operas, the golden era of Italian music. From France have come a number of musicians, but only a few who have become famous; the most important of these being Offenbach and Gounoud. Probably no other country in all history has been more crushed by political troubles, than Poland. Formerly, in Poland's flowering time, the more powerful, aristocrats surrounded by a group of lesser nobles, lived a life of martial activity, but were at the same time lovers and patrons of the arts. The national character grew out of this life. As a nation, they were an impulsive, noble, generous people. Later the pressure of political affairs became so great that their national characteristics were changed, to emotion and melancholy. Chopin bv means of his music, has expressed the pure essence of Polish national character. Chopin’s own life was far from happy and in portraying his innermost thoughts and emotions, he has also put into his music the characteristics of his unfortunate countrymen. Paderwski is another more modern Polish musical poet. Of whom do we generally think when we hear those wild, weird, mystic strains of music, which sometimes fascinate us and then again,—depending on our state of mind,—grate on our ears with a harsh, vulgar sound? The common answer to this seems to be the American Indian. What other kind of music could we expect, from a race, who in their uncivilized state, thought very little about anything besides hunting, fishing, or their homely pleasures, which generally consisted of war-dances? No other variety could be expected and yet to a certain degree, they show their great love and appreciation of nature, in addition to their warlike characteristics. America, as yet has not been classed with the world's greatest musical nations. It is now approaching the moment of its greatest power, however, and there are many fields awaiting some great tone Poet. E. A. MacDowell realized this and triumphed nobly, before Fate put an all too early end to his life work. The musical future of America is limitless. Americans are beginning to understand what a great part, music has to plav in the life of a nation, and they realize that their children are a part of the nation, so American children of today are being taught the value of music as a wholesome recreation, and as an aid in the development of character. With these thoughts instilled in the minds of the younger generation, why should not the future of musical America be bright? The foreign countries which are now stricken by war, and which have claimed the honor due them, will for a while after the close of the war, have very little time for art development, and consequently America will have a cuanee. Our people and others, as well, will discover the efforts and achievements of American musicians, who remind us of this stanza, written by Henry Wadsworth Longfellow: ‘‘The heights of great men reached and kept Were not attained by sudden flight. But they, while their companions slept Were toiling upward in the night.” And we can agree with Walt N hitman when he says: “I hear America singing: the strongest and sweetest songs remain to be sung”. IS THIS THE GOLDEN AGE OF AMERICAN LITERATURE? JOSEPH IN E LEHMAN WHEN one speaks of the Golden Age of Lit phase of literature is portrayed and when it is such erature he means the time when the litera- literature as will live. The question is, ‘‘Is this the ture of a country is at its best, when every Golden Age of American Literature?” I think that Page Thirty-on«