The beginnings of the higher class of Bohemian music in the United States were very unpromising. Everybody understands that it was not the virtuosos and the artists who migrated to America, but people who primarily sought to find living conditions which were more tolerable, and who wanted to secure bread for themselves in the fierce struggle for existence.

Learning, of whatever kind it may be, is a luxury, and therefore music is a luxury, [since it is a form of learning], something which we might call aristocratic. Besides, the beginnings of everything that Bohemians attempted on this side of the ocean were very bitter, difficult, and small. [Yet] as the rise of the present-day Bohemian-Americans has been incredibly rapid in industry and business, in community life, education, and politics, so has it been in 2music. Bohemian musicians have already gained a reputation for themselves with their music and will soon achieve fame under the eyes of the proud Americans.

There is a considerable number of accomplished Bohemian professional musicians in the United States, for the most part graduates of the world-famous Prague conservatory, who are acquainting the American public with Bohemian and Slovak composers, not forgetting at the same time the leaders of other nationalities in the field of music. Aside from that, Bohemian musicians, as teachers of music, are pouring into the souls of the American people Slavonic melodies which touch the heart and by that means are winning for the Bohemian people the lively interest of artistic circles. The Bohemian people are making their way in America with their music, a most noble weapon. It is certain, that along this path Bohemian artists are moving steadily and rapidly forward.

Bohemian musicians are honorably and strongly represented on the orchestras of Chicago, New York, Pittsburgh, Boston, Cleveland, and St. Louis, and 3especially where there are symphony orchestras.

Not only is this true, but Bohemian musicians possessing a higher musical education have founded their own schools here in America--conservatories in considerable numbers, which enjoy the best of reputations in the cities in which they are located.

That there are among Bohemian artists in America quite a number of talented directors, band masters and composers [is a fact so well known that it hardly] needs to be mentioned.

It is a great misfortune for our professional musicians here in America that they do not know how to advertise themselves, and that very often Bohemian journalists are indifferent and cool towards them.

As far as Bohemian singing is concerned, we can say with a great deal of 4pleasure that here in America it is ardently cultivated. There is not an important town in which Bohemians are settled without one or more singing societies, secular, nationalistic, or ecclesiastical. In most Bohemian Catholic churches the music is provided by a mixed choir accompanied by the organ, while at Bohemian entertainments and in Bohemian theaters not only beautiful choruses but also operettas and operas are sung.

There are not many vocal soloists among American-Bohemians, and it would be a source of satisfaction if there was a change for the better in that respect.

There are several Bohemian piano soloists in the United States, and we can truthfully say that they are excellent artists. The same may be said of Bohemian musicians who play other instruments, such as the violoncello, the cornet, the clarinet, and the trombone. Bohemians are thus honorably represented by their musicians throughout America; many of them are artists of the highest class.

Perhaps Bohemians are not numerically strong enough to maintain a purely Bohemian orchestra in America, but with good will and effort a Bohemian orchestra could be assembled, and by touring the country it would surely win fame for Bohemian music.

Bohemian music has made a remarkable impression in American musical circles. This is apparent everywhere, for if a concert of somewhat greater significance is given, we almost always find included in the program many compositions by Bohemian and Slovak composers; the orchestra itself is likely to have among its members some accomplished Bohemian artists.

A pleasant phenomenon in the community of Bohemian professional musicians is that its residents remain true sons of the Bohemian race and admit their Bohemian origin. Of course there are exceptions even here, but these are often caused by certain unfavorable circumstances. The disheartening battle for 6existence is so rude that it often removes that ever beautiful cloak of enthusiastic patriotism from such a soul until finally there remains only the broken skeleton of a formerly patriotic artist....

This sad phenomenon could be removed if well-to-do Bohemian-Americans would send their musically talented children to Bohemian music schools. In that way the Bohemian artist would profit, and the Bohemian people in America would also profit, for they would have many well educated musicians, who would surely serve them with honor.

Chamber music is not successful among Bohemians. It is appreciated only by a few musically educated people and by musicians themselves, not by the general public. Of course this is not to be wondered at. Chamber music is the highest type of music, and the Bohemian people, who are mostly of the working class, always give preference to other forms of musical production because they are more easily accessible.

To be sure, it rests upon the professional musician always to be a missionary among Bohemian-Americans and to promote fine Bohemian chamber compositions and those of other races, so to guide and to cultivate the public's taste, even if it is not immediately successful here and there or sometimes meets with great resistance. There is no victory without struggle and sacrifice.

Surely it would not be out of place if all Bohemian professional musicians were united in a society of professional musicians in which, by their combined efforts, they could more easily advance. At least once each five years they should hold a rendezvous somewhere, to discuss musical relationships, their own needs, and the means whereby Bohemian music might be made more effective.

It is very desirable that the first step in this matter be taken at the Pan-Slavic journalists' convention to be held at St. Louis from the 20th to the 23rd of September, 1904. The writer of these lines is emboldened to call upon all professional musicians to attend this convention. There Bohemian musicians would be represented along with their Slav brothers, and in that way they might 8enter upon a broader field of activity.

Artists are mistakenly regarded as if they did not need material support and could subsist like the inhabitants of the moon, drinking dew from blossoms and breathing their fragrance. The artists themselves are not practical enough; they have no business sense such as is required here in America.

The Bohemian professional musician must do a reasonable amount of advertising of himself, since much depends on advertising, especially in a country like the United States, where everything is on a commercial basis. Bohemian Day at the World's Fair in Chicago in 1893 was a big advertisement for Bohemian musical talent which was triumphant there. This success was so great because the arrangements for Chicago's Bohemian Day were taken over by unselfish people, who were both enthusiastic and practical. These important conditions were lacking in the Bohemian Day arrangements at the St. Louis exposition, which for that reason was without financial success, though from a musical standpoint 9it stood high. But the concert arranged in Chicago for the benefit of the Central Educational Association of Bohemia served to advertise Bohemian musical art. It is therefore recommended that our musicans and singers appear oftener at such public celebrations and in that way demonstrate to the American public their solidarity and their strength.

Bohemian professional musicians should see to it that they have on hand Bohemian compositions, whether published in Bohemia or elsewhere, and they should recommend these compositions everywhere and perform them themselves, thus opening the way for Bohemian art.

It is necessary that a Bohemian artist shall occasionally visit his native land in order to hear the creations of the foremost Bohemian masters performed there, to refresh himself musically, to nourish a filial affection toward Bohemian art, and to comprehend and appreciate the works of our young composers. The Bohemian artist born in America must see to it that he acquires a general 10education, and he must also receive business training so as to render his natural talents remunerative.

It is certain that Bohemian music will have a great influence upon Americans if Bohemian artists will see to it that they shall appear wherever possible in one body before the American public and cause their really great musical talents to be appreciated.