By Philip Brophy (ed.)

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The first issue concentrated on teaching. D. " In the voice section, two of the TCM's leading teachers, David Dick Slater and Dalton Baker, wrote about vocal technique, Albert Ham about training the boy's voice, and Healey Willan about how English choir schools function. The Review had an organ section and news about concerts, events, and examinations at and outside the Conservatory. Examination results were published in issues following examination periods. " He wrote perceptively about his experiences as a TCM examiner in a remote prairie town, where, in spite of bad weather, parents left their farms and struggled over poor roads to get their children to the examinations punctually.

A debonair dresser, he affected an upper-middle-class appearance, used a cane, and wore spats in winter. In his later years, Willan wrote mercilessly about 1913 Toronto. He found Yonge Street, Toronto's main thoroughfare, "about as interesting as an English village street. "92 There was no orchestra and few visiting concert artists. "The only annual event of musical interest was the Toronto Mendelssohn Choir Festival — about three days of it at Massey Hall, usually in February. Even with the Mendelssohn Choir, in those days one felt a dearth of music.

122 The popular Horace Lapp was the pianist. Ferdinand Pillion played frequently at the Conservatory with Seitz, Kihl, Wells, and Smith. One of Pillion's pupils was Geoffrey Waddington, later head of music at the CBC. 123 The Pillions moved to Pittsburgh in 1925. Carlos Buhler stayed with the TCM only until 1923. Undoubtedly the school gained momentum in the post-war years. With studio space at College Street more than ever at a premium, some teachers had to be moved to branches. 125 There was good news, too, from the women's residence, a building that had previously belonged to the T.

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