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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

7-1-1909 Volume 27, Number 07 (July 1909) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 27, Number 07 (July 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/549

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inMusic^fci Theodore Presser, Publisher , Pennsylvania Price 1!» Cents $I.5*per year THE ETUDE 433

WHY YOU SHOULD NOT FAIL TO GET THE AUGUST ETUDE. Owing to space limitations it has been nec¬ A MONTHLY JOURNAL FOR THE MUSICIAN, THE THREE MONTHS’ SUMMER SUB¬ essary to continue some important articles of MUSIC STUDENT, AND ALL MUSIC LOVERS. SCRIPTION. this issue in the August issue* In addition to Edited by JAMES FRANCIS COOKE Many hundreds of our subscribers, we pre¬ Subscription, *1.50 per year, .‘lnnlc copies, 15 Cent this there will be the especially attractive ar¬ sume teachers, on The Etude subscription ticles mentioned below and many others of in¬ list, send to us every year a number of tltree- terest to the Summer reader. If you are not month subscriptions. They find it to their ad¬ a subscriber and are going to the country, •pittances should be made by post-offlce vantage to have The Etude before their pupils where you may have difficulty in purchasing money orders, bank check or draft, o registered during the recreation time between the terms an Etude, do not fail to send fifteen cents to letter. United States postage stamps received for cash. Money sent In let of music lessons. We make a special price the Publisher of The Etude and get this copy. gerous, and we are not responsible 1 for these trial subscriptions of 25 cents. Three It will turn a rainy day into one of profit, en¬ issues; it can be any three consecutive num¬ tertainment and inspiration. bers from May to September. If you have not acrlptlon tried this it will pay you to do so. THE MIRACLE OF INSPIRATION. RENEWAL— SPECIAL RENEWAL OFFER FOR JULY. 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Listen nected with music-teaching and music-study are le that are not available will be re- For $1.60 we will send The Etude for to “Carmen,” with its scintilating brilliance another twelve months and any one of the and its sensuous melody and you will soon ADVERTISING RATES- Vwill be sent on application. norms close on 10th of each month for the suc¬ following books, postpaid: realize how impossible it would have been ceeding month’s issue. Standard Graded Compositions, Grade 1, 2, 3, 4 for Bizet to have produced such a work by THEODORE PRESSER, or 5. methods of cool calculation. Hear the “Ride 1712 Chestnut St., Philadelphia, Pa. March for Four Hands. of the Valkyries.” Listen to the “Hebredes” ■ Entered at Philadelphia P. O. as Second-class Matter. Four-hand Parlor Pieces. Copyright, 1909. by Theodore PresSer Co. overture or the “Fifth Symphony,” and ask Tunes and Rhymes, Vocal or Instrumental yourself if anything other than genuine in¬ pieces by Spaulding. spiration could have produced these works. Again, how was it possible for Handel to have CONTENTS PREMIUM LIST AND CLUB OFFERS. written so lengthy and remarkable a work as Foe several months past we have advertised “THE ETUDE” - JULY, 1909. the “” in twenty-eight days unless he in this column seasonable premium offers for was inspired. Mr. Henry T. Finck, the noted Editorial . . the Spring and Summer. We would refer- Current Musical History.Arthur Elson ■ author of many valuable books, will write The Art of the Coloratura Soprano. our readers to those past issues for excellent upon this important subject in the August Luisa Tetrazzini • gifts or bargains of premiums other than of Etude, under the title “The Miracle of Inspi- Discern the Signs of the Times. a musical nature. The camera offer will be Albert W. Bor at • Woman's Opportunity in Music, Symposium.. < found advertised on another page of this is¬ Famous Women in Music.Arthur Elson < sue. Our complete premium list, with illus¬ WHAT FAMOUS AMATEURS HAVE Three Helpful Phrasing Hints. .H. A. Jeboult i trations, will be sent free to anyone. Symposium on Music After Marriage and DONE. Motherhood . / On another page of this issue will be found Successful Memorizing.. .Kate S. Chittenden 4 the best bargains in clubbing offers' with Me. Louis C. Elson has prepared a most Who’s Who Among Famous Women Musicians 4 other magazines, a column advertisement. interesting article upon the work of “The Fa¬ The American Woman ... .Loma Gill 4 mous Amateurs in Music.” Too little recogni¬ Vacation Study Without a Piano, The club offers can be taken in connection ,, Harriette M. Brower 4 with any premium offer; every Etude sub¬ tion is given to the achievements of those who Grieg on Liszts Piano Playing. work for the art but who do not depend upon Gallery of Celebrated Musicians. 4 scription, whether single or in club, counts Why American Girls Succeed in Opera, for the premium. it for a livelihood. Mr. Elson’s long experi¬ - Corinne Rider Kelsey 4 ence as a teacher, critic and author, as well Saint Cecilia, the Patron Saint of Music.... 4 A SPECIAL OFFER FOR JULY TO NEW as his wide reading, insure articles of edu¬ The Influence of Women on Great Composers 4 Music for the Business Woman. SUBSCRIBERS. cational value as well as deep human interest. Mrs. Hermann Kotzschmar 4 . To ,every reader not now on our subscrip¬ Short Practical Lessons in Theory, tion list who subscribes during the month of Thomas Tapper 4 WILLIAM SHERWOOD ON ‘“LESSONS Self-Help Notes on Etude Music. ,P. 11'. Orem 4 July, and to every new subscriber sent in by IN RELAXATION.” Pedal Consciousness.William Benbow 4 a present subscriber, which reaches us during Me. Sherwood, the noted American vi/ Department for Singers.Lillian Blauvelt 4 the current month, we will present a pocket Department for Organists,.. oso, feels that unrestrained or indiscrirt/ Dictionary of Music and Musicians. We want Mary Chappell Fisher 4 relaxation is not altogether desirable. V Department for Violinists.Maud Powell 4 to register as many subscriptions during this written an article for you in which / Department for Children.c. A. Browne 4 month of July as is at all possible. We offer The Work of Our Women’s Musical Clubs, stated some technical principles very f y _. Fanny Morris Smith 4 the above as an inducement. The Dictionary How Theory and Harmony Aid Memorizing.. 4 must be asked for with the order, otherwise and helpfully. This is an article f/ el¬ Teachers’Round Table.N. J. Corey 4 it will not be sent. and student alike, and similar to tBe IS: *ar- Musical Works by Women. ..1 Classified List 4! wenka article on octave playing in the last Publisher's Notes . 4. The World of Music. 41 PROFESSIONAL ADVERTISING. issue is as valuable as a lesson with the writer. New Publications.” 4. Eveby music school in the large cities, every The Etude has in preparation a number of The Reason for Inefficient Sight Reading, music school in every locality, should an¬ similar articles by world-renowned teachers On P'aying for Nothing. .Oscar Hatch Hawlel t nounce their courses of study in the next and virtuosi. You should acquaint all of your What Others Say. 5, three issues of The Etude. It pays the music musical friends, with this fact, as the instruc¬ Recital Programs. 51 tion contained in one such article is often far Answers to Questions. " 51 schools that are now advertising in The Mirth and Music. 5( Etude to advertise, and it surely will pay more valuable than an entire year’s subscrip¬ others. Our rates for this sort of advertising tion to The Etude. MUSIC. are very low. Lowness of rates must be Joyous Peasant.Schumann-Hartl 41 gauged. by the amount of circulation. Our A PROFITABLE SUMMER PASTIME. June Morning.It. It. Forman 41 circulation is a number of times larger than Look over your old Etudes, you will find Tick Tack (4 hands).J{. ran Gael 4I that of any other paper in the musical world. Pastorale Enfantine (4 hands).C. Chaminade 4( many things that may have escaped your at¬ A large advertisement in the next three -An Oriental Scene./,. E. Orth 41 tention during the busy winter season. There W ‘‘IDtong.Matilce Loeb-Euans 41 months and a small one in the balance of the is so much in The Etude that one has scarcely XRrnntelle.n. Chretien 41 year entitle an advertiser to our lowest Enchanted Moments.1. 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It always pays to take time by the forelock. THE ETUDE 435

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A THE ETUDE 439 THE ETUDE 438 last act, can I? No. So I must pay all the more again as she tells of Klytemnestra’s dream. During attention to the dramatic side of the interpretation, the sacrificial procession, as in many other places, to dramatic sincerity in the singing of the music. the orchestra becomes a center of interest, and fills Current Musical History in gaps in the action of the play. The music pictures HINTS TO SINGERS. the eager panting of the priests and the halting SSJgSJ?KS-JSS. »>• »£;• Bath’s humor.., “Wedding »“,* As to study, after one has .begun one’s .capeer, steps of the victims. There are also the themes of THE ART OF THE COLORATURA SOPRANO Europe Electra’s hatred and Klytemnestra’s terror. Here £xhom£By Dunhili. when I am singing, unless I aln learning new roles, and elsewhere is a more gentle theme, picturing By MME. LUISA TETRAZZINI I practice very little, scarcely at all, because with By ARTHUR ELSON Klytemnestra’s past happiness.. The climaxes are regular performances and rehearsals my voice is tremendous and violent, yet from here on the opera * ,b/,r, kept in practice sufficiently, and more work would U'ew operatic sopranos 'have met with such sensational in our conservatories, the history of music, study of but tire it. When I am not singing in opera it is seems to rise in power. The dialogue between the success during recent pears as has the author of the tol- the different clefs and reading in them, the piano different, and I must practice to keep it in shape. In the Monthly Musical Record is an article on sisters is resumed with continually new orchestral lowing sketch. For many season s Tetrazzini sang ire Italian colors. Orestes comes, and there is a charming or at least one instrument. I consider study of the I am very careful about my eating, and would advise English melody, which deplores the fact that con¬ STARTING A NEW TEACHING CLASS. 1 and was wildly theme of recognition. He is not of great moment acclaimed by the pii&Mc of that city. piano most necessary for the would-be singer. After all singers and students to1 be the same. Avoid, as tinental Europe gives so little heed to the English Eastern managers, however, would not uwepi me verutut three years of careful study, another year should songs. What is good in English music is too often in the play, but the orchestra gives him his proper I do, all highly spiced food; pepper and other spices BY EDITH LYNWOOD WINN. of the Western metropolis and it is only within recent suffice for acquiring a sufficient operatic repertoire ascribed by them to the influence of Handel. This importance. While he is in the palace the Klytem¬ years that she has had an opportunity to appear in irritate the throat even when they do not upset the and in New York. That such a great soprano could have to make a debut. stomach, hence are bad for the voice. I touch no is mixing cause and effect with a vengeance, for it nestra theme appears, no longer blatant and garish, Whether one is teaching in a college, remained away from the Eastern States and is hut thin and weak, as of a shade. When Aegistheus regretable, whatever may have been the cause. Mine. alcohol, save sometimes a small quantity of wine is far more probable that the English music influ¬ Tetrazzini gives some very practical advice for aspiring REPERTOIRE. enced Handel. The great choruses of the “Messiah appears, the music changes completely. A SSS before young singers. We feel confident, however, that if she taken with plenty of mineral water. On the days show a strength and directness of expression that glissando ushers in a Hght, airy, satirical style that were to investigate American methods of voice training As to the style of operas, I personally, although when I am to sing that evening my hearty meal, one organizes a class. First, there are ctrcular, or and vocal education she would find many reasons for are decidedly English in character. makes the audience properly disgusted with him. announcements to be sent out, or special letteJ students remaining in their own country for study.—Edi- I never sing in them, do not consider the modern and not too hearty a one, either, is taken not later England’s place in musical history is far more His death is made squalid and sordid, and deprived parents and old pupils. Nothing is ^ ^Ivantageou dramatic operas bad for the voice; they merely re¬ than two o’clock, one preferably. Then I take noth¬ important than her present position would indicate. of all grandeur. Then comes the final scene, in to the teacher as an early beginning. If the teacher quire a certain kind of voice which, if properly ing else before the evening performance unless a In the early times Walter Odington probably in¬ which the orchestra rises to absolutely tremendous has been away on a long vacation, there should be In the first place, I believe that the singer is born, cup of weak tea. The stomach must work, too, vented measured notes independently of Franco of heights—a musical climax comparable only to the some letters or announcements to students reg not made. One must be born with a good voice to when one is singing; one must breathe deeply and Cologne It is certain that counterpoint existed in finale of Wagner’s “Gotterdammerung.” The or¬ ing the new year’s work before the return of the become a good singer. To be a coloratura soprano have full command of all one’s resources. How can England earlier than in any other country. As early chestral threads are gathered into one colossal whole, teacher. Then there should be personal visits to I firmly maintain that one must be born with a the stomach aid one if it is compelled at the same increasing in power to the end, and changing in color as the thirteenth century the school was in a flour¬ parents on return. Nothing puts the parents on naturally flexible voice of sufficient compass, other¬ time to do the work of digestion? , ishing condition, as may be seen from such a song from darkness .to the bright light of day. such terms of sympathy with teachers as a ffien4*y wise all one’s efforts will be in vain, even as the In conclusion, I should like again to warn the as “Sumer is Icumen In.” This admirable com¬ call from the teacher. Here are a few hints for the would-be dramatic soprano must be born with a young singer, and especially the light soprano NEW OPINIONS ON OLD SCALES. position is ascribed to the year 1215. A leading young teacher: . voice of that timbre, otherwise all the training, all voices, against too much study, too much practicing. English contrapuntist was John Dunstable, whose In the Quarterly of the Musical Society Jean 1. Nothing is more powerful than an earnest in¬ the ambition on her part will not accomplish her Overwork is bound to injure the quality of the works are praised highly by the historians. Marnold writes about the natural foundations of terest in pupils. Personality is often more powerful purpose. Take the trill, for instance. One must voice; hours of study will injure the timbre, and In later times, too, England held her own. 1 he the Greek scales. These he finds derived from than positive musicianship. have an inborn ability to trill—naturally not per¬ then what good has been accomplished that can off¬ Elizabethan Age is famous in literature, but it ex¬ mathematical divisions of the stretched string. It 2. Executive ability and skill in organizing count fected, merely the aptitude—otherwise constant set this serious loss? Think, cultivate your intelli¬ celled also in musical achievements. Such men as was from these, too, that Pythagoras formed the more highly than mere keyboard theories. study will but insure a tremolo in the voice, never gence and spare your voices. Farrant. Weelkes, Morley, Byrd and many others scale that became our own so-called scale of nature. 3. Do not find too many faults with new pupils. a perfect trill. went far towards forming an Elizabethan school of Not until Bach wrote his well-tempered clavichord Find at least one good point. music In later times, too, we find the manifold MY VOCAL TRAINING. was the scale of nature given up in favor of a. scale 4. Present a few new truths or establish some successes of Purcell, in sonata and song as well as of twelve equal semitones. It is doubtful if the DISCERN THE SIGNS OF THE TIMES. principle on each lesson. Do not burden the new Although none of our family had ever been pro¬ opera, and the graceful lyrics of Dr. Arne. Such a ear really perceives any mathematical relations be¬ student with details. fessional singers, my mother had a very good voice, .genius as that of Handel could not fail to appre¬ tween the vibration rates, except in the case of the BY ALBERT W. BORST. 5. In locating far from an artistic center try to and we three sisters inherited it, I suppose. My ciate these works. In fact the evidence shows that octave. For other tones the ear merely notes larger clothe your work with real interest so that drudgery sister, Mme. Campanini, was, as everyone knows, ' Handel frequently “cribbed” from lesser English or smaller differences in pitch. Thus it is not sur¬ Some years ago there was a tentative effort made may not seem like drudgery. Aim to make things a successful opera singer for years; another sister, composers. Under these .circumstances it is rank prising to find so many scales among the different in England to introduce some examining board for tangible, simple yet interesting. Elvira, has a large, most successful class of singing ingratitude for the Germans, at any rate, to consider nations. The American Indian has scales that do all who proposed adopting the profession of teacher 6. Bach is a splendid friend for musicians, but pupils in Milan. I am the youngest, the baby of English music an* echo of Handel. Even Haydn not fit ours at all, while in the orient quarter-tones of music. While the scheme could not be carried he must be given in rational doses to a country the family. felt the charm and grace of the English style, are sometimes used. Persia has a great variety, out, there is still a nucleus of earnest students who he adopted it in his song. “My Mother Bids Me constituency. I always sang, and when I grew up to a young enter the annual tests as outlined by some of the according to G. Knosp, in the Guide Musical. 7. Adopt a system for the advancement of pupils Bind My Hnir.” 1 girl, one day a singing teacher, Ceccherini, of Flor¬ London colleges. Recently a more serious step and for the advancement of the community in which ence, offered to train me for the opera stage, for has been advocated by some of the German periodi¬ HERE AND THERE WITH FAMOUS MUSICIANS. you work. Lead upward by careful steps. THE ELECTRA PERFORMANCES. which he declared I possessed ability. I studied cals, in suggesting that the musical profession In the Monthly Journal Maurice Ravel receives 8. Never belittle a student’s work if it has effort with him for six months, almost all of which time should conform to that of the sciences, in requiring In the Monthly Journal of the International Musical much praise for the lyrical and descriptive power of I was working on operatic roles, not on voice pro¬ a teacher to be able to show that his knowledge of Society Alfred Kalisch gives a detailed account of his “Miroirs” for the piano. One of them, the 9. Make a vital distinction between students pre¬ duction, and at the-end of the time I made my debut the art is more than superficial. We are not here “Electra.” The scene opens with a group of serv¬ Barque sur I’eau, has been set for orchestra. Edmond paring for the profession and those preparing their in the role of Inez, in Meyerbeer’s opera, “L’Afri- arguing either for or against the proposition. But, ants at a well, discussing the heroine. One ap¬ Missa’s one-act “Maguelone” received praise in Paris. culture for the home. Give to the first a logical caine.” Since then I have sung constantly in opera, as music is at last being properly regarded as a proves of her, the others not. Then Electra enters. The Guide Musical says that the “Demoiselle Elue” well-outlined course. Give to the second something She is always strong in feeling and self-reliant, while and my repertoire now numbers thirty-three roles. seemed very poor when led recently by Debussy tangible that will broaden and enrich their lives, great psychologic power, parents will naturally be her sister Chrysothemis shows the softer virtues of I am, however, perfectly willing to admit that himself; and it adds, “pleurons sur elle, pleurons as well as the lives of others. Give to both high more exacting in the demands upon the teacher of mine was an exceptional case. Assuredly I should dependent womanhood.. The latter bemoans the fate sur lui, et pleurons sur nous.” But some new a their children. that has brought such tragic events into their lives, not tell young students that they might expect to capella quartets of his were praised highly. Viul- 10. Never sacrifice a point if it means forfeiting a In our large cities the facilities for self-improve¬ and sighs for the quiet happiness that is given to make an operatic debut after but six months of* lemin’s “Double Voile” was well staged and^much principle of art. Sandwich detail in with regular ment—by operas, fine concerts, lectures, periodicals ordinary mortals. She then tells Electra that their study. But the many physicians and throat spe¬ applauded at Nice. At Monte Carlo, “La Foi was work, so that principle must be mastered. and libraries—are now very efficient. Do the mother Klytemnestra has had an evil dream, and is cialists who have examined my throat and larynx produced with incidental music by Saint-Saens; also 11. Never ask of a student more than he can do. greater number of our musicians take advantage of about to offer propitiatory sacrifices. Then a pro¬ Charles Silver’s ballet opera, “Neigilde,” and “Leda,” in Europe and in this country all agree that these such educational assistance? Is it not true that cession appears in the background—men and women 12. Never find fault with the ideals of a com¬ opera in old style by Antoine Banes. organs are absolutely perfectly formed and in per¬ those who are eager for increased knowledge are servants with torches, sheep for the sacrifice, and at munity. Rather praise the merest evidence of true I11 Portugal, at Lisbon, “Augusto Machado,” a fect condition for a singer. In itself this consti¬ the very ones who are best equipped? There is, last Klytemnestra herself, in red robes and jewels. culture. trained, should not be harmed by them. But the four-act opera by Burguezinha, was well received. 13. Teach the student through music to love abso¬ tutes a great advantage. My health, too, is excellent, moreover, this very important factor to bear in As she appears, Electra rises and glares her defiance. another necessary point, and I am broad-shouldered light soprano must not aspire to sing dramatic roles The Spanish composer Chapi, who died recently, beauty in life and in all phases of education. mind: that the thousands who live away from our After all have passed,* Electra tries to rouse her and full-chested. I think, too, that our Italian lan¬ any more than the dramatic soprano can execute was very active, and his “Margareta la Tornera" Let books be the handmaidens of music. cities, or who cannot afford to accept the means of sister to action, but, finding her efforts useless, she guage is of the greatest advantage to the would-be the coloratura, the trills and staccato in which the progress alluded to above—the very ones who should curses Chrysothemis. She then digs up a hatchet was brought out at Madrid last February. In 14. Treat every hand as an individual hand and the Greek composer Spiro Samara produced his new singer. Since every tone is placed forward, is open light soprano is at home. The repertoire for the have the most assistance—are quite excluded. which she had concealed. Orestes now appears, and every mind as a unit. Read character between the latter voice is not the limited one that some per¬ opera, “Rhea.” and free, it is perhaps a necessary consequence that It is impossible to shut our eyes to the fact that after greeting his sister enters the palace to take sons fancy. For instance, I sing thirty-three roles, Italy is stirred by a pamphlet of Tebaldini, which as a rule the Italian singing voice is by nature in no other branch of education does one meet with venegeance on Klytemnestra. During his absence perfectly placed, and studies for tone production are including Violetta in “La Traviata,” Gilda in “Rigo- accuses Strauss of taking parts of Grecchi’s “Cas¬ neglect to practice and study. He _ 0-.-~ ~ so many cases of unpreparedness and ignorance. from the stage, servants rush about aimlessly, and therefore unnecessary. letto,” Filina in “Mignon,” the Queen in “The all is in utter confusion. Then Aegistheus arrives, sandra” for his “Electra.” As the resemblances that he has has nothing left for the next year unles Rudimentary questions in form, history, harmony, are slight, it is suggested that the whole affair is a Huguenots,” the Queen of the Night in “The Magic terminology, etc., are sometimes asked by some to meet his death at the hands of the avenger. he wisely gathers a few ideas by supplemental ,” Rosina in “The Barber of Seville,” Zerlina Electra then goes through her sacrificial dance, and carnival joke or an advertisement. Bossi’s orches¬ study. TIME TO COMMENCE STUDY. anxious scholar, which the teacher cannot solve. tral variations were voted dull at Buda-Pesth. The in “Don Giovanni,” Juliet in Gounod’s “Romeo and Sometimes one hears some such absurd statement ends by taking her own life. 16. Make every moment of the lesson hour coun' For this reason, and not merely because it is my firm of Ricordi has published the first two Beeth¬ Juliet,” the leading soprano roles in “I Puritani,” offered in excuse for ignorance as this: that peo¬ , The premiere at Dresden was a much advertised Do not gossip or fail to concentrate forces. own country, I should advise the young student to oven symphonies in two clefs, and with actual notes “Dinorah,” “La Sonnambula,” “L’Etoile du Nord,” ple in the small towns do not expect or even wish event. There were rumors that all the live stock of 17. Study the psychology of teaching. Th go to Italy to study, and to begin her vocal work instead of transposed instrumental parts. “The Pearl Fishers,” “Lakme,” “Martha,” etc. Not for much beyond the most commonplace music! the neighborhood had been called into requisition. poorest teacher in the world is he who merely a< in the Italian language. As to the proper age for such a small repertoire, I am sure. Now, if the art is in such a rapid state of evolution, Electra spoons were for sale in the shops, also Other novelties are Sinding’s piano trio. Op. 87, cepts teaching as a means of livelihood. beginning these studies, a question often asked, I Another great necessity for the student is to de¬ what is to become of the future status of these short¬ Electra boots, beer mugs and costumes. It was and some new violin pieces; a ’cello concerto by 18. Awaken the student’s powers of expressioi can only say that it depends entirely upon the Gradener; the new string quartet of. Sibelius; velop her intelligence. Study the stories of the sighted dwellers in the wilderness? For their very even possible' to get Electra ices for dessert. Let him present his concept first. You may give tl student. In the case of a well-developed girl, with Dehmel’s “Lebensmesse,” a festival affair for choral different operas in which . you hope to sing; try to existence, then, we would plead for them to make The music, it was .supposed, would be more ad¬ illustration after you have seen his viewpoir broad shoulders, good health, I should say that and orchestral forces; and Reger's prelude and act as you think the heroine would under those vanced or more clear than that of Saloihe. Strange Listen. fifteen was the proper age. For the less developed, some sacrifices in .order to attain increased knowl¬ fugue for violin alone, dedicated to Marteau. The circumstances; try to impress' the dramatic accent to say, it seemed to be both; but the unusual may 19- Give few etudes. Learn principles from delicate, slender girl, eighteen is quite soon enough. edge. It is, in reality, but fair to the client for play, “Une Noce sous, la Revolution,” will be set upon your singing. One must study to depict the be expected with Strauss. In the opening scene few well-chosen studies. Drill work is better th: As to the length of time these studies must con¬ whose support you ask, as well as'to'the art on the orchestra is so forcible that the voices of the by Buttikay, in spite of the fact that D’Albert and mere veneering. - role in every possible feature. For instance, take which you are depending for your very living, to tinue, that, too, depends so largely upon the intelli¬ the role of Violetta in “La Traviata” one of my servants are scarcely audible. Electra’s first solo Kienzl applied also. Emil Paur’s symphony, “In 20. Never let a pupil go away discouraged; rath be constantly endeavoring to become master of der Natur,” receives high praise from the Signalc. gence of the student that it is impossible to lay favorite roles, by the way. People..say (hat she brings in the theme of her dance and that of Aga¬ hear him play every day until he is in earnest. down any laws. With the average girl I should more of the scientific principles of music. How this At Moscow, Scriabine won many plaudits with his must be thin and emaciated in the ..last .,aqt„ since memnon’s children. The lament of Chrysothemis is 21. Affiliate with educators. Study conditions say three years should be devoted to actual vocal is to be accomplished will of course, under present two orchestral numbers, “Poeme Divine” and “Ex- she is supposed to be dying of consumption. Very full of touching beauty. The music grows sombre other communities than yours. Seek broad cultui training, and including, as such, study always does conditions, have to be left to each individual to solve good! I cannot make myself suddenly..thip'for that for himself. ;. . THE ETUDE 441 THE ETUDE 440 lish. Her first set of lays, in French verse, won The professor will find his branch of the work is instant admiration in castle and court. Twelve of to impart artistic finish and interpretation. The her songs are now in the British Museum, among well-trained woman teacher will be expected to ay them one treating the Arthurian legends in remark¬ the foundation and carry the pupil up to the hmsn- ably beautiful fashion. ing point. This does not lessen her power and With the decay of the and Jongleurs WOMAN’S OPPORTUNITY IN MUSIC responsibility, but heightens both. What greater FAMOUS WOMEN IN MUSICAL HISTORY came the beginning of the various schools of opportunity could be desired, what finer incentive counterpoint, where at last may be found women for thorough preparation, for earnest, artistic effort By ARTHUR ELSON whose works can be heard and enjoyed to-day. A Symposium to Which Some Well-known “Etude" Writers, All of Whom Are Practical And the young American woman is equal to tne Author of “Women’s Work in Music” There is a saying that music was horizontal for¬ and Experienced Teachers, Have Contributed merly, but is now vertical. The flowing part-writ¬ But there are other positions in the world of music in which woman can shine besides the quiet That women have had much to do with music most educated young women, who were her pupils ing is aptly described by this, but the contrapuntal music is not yet shelved; so we may still listen to beautiful, which is the surest evidence of growing one of the teacher, no matter how important and is shown, first of all, by the fact that the patron in poetry, music and personal cultivation. The Doubtless three-fourths of the music teachers in the or of such women as Madda- artistic life in this country, is evinced by three- far-reaching that may be. If she is gifted wi a (or matron) saint of the art was a woman. Not power of her poetry was made evident by its effect America are women. In no country in the world is lena Casulana or Vittoria Aleotti in Italy, Madelka fourths women in the concert audiences; and thus voice she can have the world at her feet. With t everyone thinks that St. Cecilia was a real person¬ on Solon, the lawmaker. Hearing one of her works woman’s position more secure or more respected. Bariona in Germany, Clementine de Bourges in it is that the seriously trained, devoted woman growing love and appreciation for opera this held age. but she actually did exist, in the second or for the first time, he expressed most ardently the Nevertheless, there still remains a prejudice in some France, or Bernarda de 'Lacerda in Portugal. At teacher of music is so successful. offers the most brilliant inducements to women, it third century. The facts are somewhat apocryphal, wish that he might not die before having learned sections in favor of the man teacher. We believe a later date Francesca Caccini, daughter of the 4. Yes, I believe that she is better adapted to she has the artistic gifts of instrumental interpreta¬ but it is stated that about the year 230 A. D. a such a beautiful song. early opera composer, became the idol of her city, that a teacher’s worth depends upon ability and teaching children than her male competitor, for be¬ tion she can take equally high rank on the concert noble Roman lady of that name, a Christian, was Other poetesses (and therefore musicians) in and grew renowned in poetry as well as music. natural qualifications, and that the question of sex sides the inherent quality of training the child, platform. In both of these departments women can forced into marriage with a pagan named Valerian. Greece were Myrtis and Corinna, both contem¬ After the contrapuntal school had culminated in has nothing whatever to do with the matter. In which is hers through long generations, she does attain to an equal position with men and win an poraries of Pindar. In later times music fell into She finally converted him and his brothers, but all Bach, music was turned into new channels, more fact there are many cases in which the woman not so easily forget her own childhood. equal or greater remuneration. were martyred in a subsequent persecution. Even the hands of the lowest classes. The same was Yet another opportunity is open to women, an¬ as we see it now. Woman composers have come teacher is decidedly the superior of her male com¬ The whims and fancies of the developing mind; then she would not have been connected with music largely true of Rome, though there the art was kept other avenue to fame, which as yet she has barely thick and fast, in spite of much absurd prejudice petitor. A poorly trained man can never hope to the way things dawned upon her understanding are but for the passing statement that she often united alive also by slaves, who were usually much more entered, and that is the avenue of musical composi¬ against them. It is hard to see why women should compete with an able and progressive woman very clear to her over a lapse of years; and when instrumental music with that of her voice in sound¬ cultivated than their masters. Finally the Chris¬ she sees the old scenes enacted before her eyes she tion. But with time I believe she will make her tian Church set the ban on woman singers. Alto¬ not always have been allowed to compose, as there teacher. There may be the appearance of success ing the praises of the Lord. is nothing unfeminine in writing music. But even knows the safest way to add fancy and fact to fact f name ring in that direction also. Women are well represented in the various my¬ gether it is no wonder that we find no great woman at the.start, but in the long run ability and training I do not know whether your questions find an in the last century such men as Mendelssohn and and fancy till both are merged, which process is thologies in connection with music. The Muses and composers in those times. In Northern Europe, must show. the surest way of building up any art. answer in these thoughts, but I send them. where wives were bought like cattle, the position Rubinstein opposed the idea. As is well known, In order to get the opinions of active and success¬ Sirens are well known. India, too, ascribes its Mendelssohn was properly pun¬ favorite musical instrument, the ful women teachers upon this subject, we sent out HARRIETTE M. BROWER. FLORENCE LEONARD. ished, for he had to confess to the following questions, and print herewith the re¬ vina, to Brahma’s consort Saris- Queen Victoria that the song You ask for some thoughts on Woman’s Work x. The questions asked are concerned, I take it, -vati. The various scales were plies received: in Music, and what her preparation, ability and “Italy,” which she liked and cred¬ with woman’s teaching. For there are many ex¬ represented by nymphs, and when ited to him, was really the work 1. Does woman have the same opportunity in opportunity are, compared with those of men. If Krishna came to earth sixteen amples of the success of women who possessed ex¬ of his sister. music as her male competitor? the estimate comes near the truth, namely, that thousand of these young ladies ceptional gifts as artists. An interesting female figure 2. Does she, as a rule, acquire the same prepara¬ women do about eighty per cent, of all the music If there is any difference in the opportunities of sang to him, each in a different tory skill and professional training that her male teaching which is done in this country, this answers in the eighteenth century is women and men as singers or concert players it is mode. Maria Theresa von Paradies. Al¬ competitor achieves? the first question: due chiefly to two limitations which women are apt In the folios of Lepsius is a 3. What is woman’s largest opportunity in music? “Does woman have the same opportunity in music picture of an ancient Egyptian though totally blind, she became to find—limitations in strength and by convention. a pianist of the first rank, gifted 4. Is she not by nature better adapted to teach that her male competitor has?” Of two poor students who must earn their own Institution resembling our own with powers of the most sympa¬ young children than her male competitor? In point of fact she must have far greater oppor¬ education and support themselves, the man has, as conservatories of music. It rep¬ thetic expression. Her memory tunities than he. By reason of her sex she can a rule, a better chance of succeeding than the woman resents a course of music in the LEONORA SILL ASHTON. enter homes and instruct the growing daughters has because he has greater endurance, and is freer school' of singers and players of was phenomenal, for she could where, for obvious reasons, the male teacher would t. In every human soul is the longing, more or from conventional restraint in his ways of earning King Amenhotep IV years be¬ play at least sixty concertos and not be employed. She has intuition and sympathy a living. fore the Christian era. There any number of smaller pieces. less defined, to create something; to fashion things in a far greater degree than the man; she has also The same facts apply to the opportunity of women are large and small connected Her compositions showed unus- with one’s own hands; to put into tangible shape the more tact, a great deal more patience and often a teachers, but here there is an additional difficulty— rooms, with furniture and musi¬ very popular fairy opera, “Ri- thoughts in one’s brain; to systematize the wander¬ far better knowledge of foundational work. I would, the popular prejudice in favor of the man teacher. cal instruments. In one room a naldo and Alcina;” the melo¬ ing fancies with which we are born. as a rule, rather employ a capable woman teacher This prejudice is not as strong as it was formerly, teacher sits listening to a girl drama, “Ariadne and Bacchus,” To the man this is undoubtedly more simple than at $3 per hour than a man at a higher price, for I and the woman succeeds in holding more advanced singing, with another girl play¬ and the pastoral operetta, “Der to the woman, for in the case of choosing music would expect more thorough, conscientious instruc¬ ing the harp for accompaniment, work than she formerly did. But that is largely Schulcandidat;” also a piano trio, for a profession, that becomes part of his life, the tion. She may not have the business ability to push and a third one regarding the because her teaching is far better than it used to be. a number of sonatas, some can¬ maintenance of which in most cases depends upon it. and advertise herself as the man has, but she has teacher attentively. Another Such teachers as Marchesi, Carreiio, Mme. Ruders- tatas and many songs. Mozart Man’s is a force which seeks opportunity as its the conscience to do solid, patient, competent work room shows two girls practicing dorff, Kate Chittenden, Helen Hopekirk, Szumowska, gave high praise to these works. birthright, and necessarily draws out the power —work that tells. Caland, whose keen analysis of technical problems a dance with harp music. A third In the nature of things, woman’s work as a teacher and broad application of the principles of aesthetics room shows a young lady leav¬ within him. of music, and more especially piano music, will, lie A PUPIL OF HAYDN. With the woman who would be a musician this are the foundations of their success, rank equally ing her harp and sitting down to more in the direction of foundational training, and lunch with a friend. Doubtless is a, different matter. She may have great talent, but with men as instructors. Marianne Martinez, a pupil of in this branch of the work will be her greatest these girls and many others did Haydn and Porpora, was another she is either cast upon her own resources, in which opportunity. She is much better fitted, through re¬ An opportunity for a poor quality of work at lower prices than men will take is always waiting for some composing, even if only in gifted composer, whose oratorio, case other things might be more remunerative than finement, patience and gentleness, than is her male the form of improvisations. “Isacco,” met with deserved suc¬ music; or there is no need for her to do.anything competitor. Teaching children in classes gives her women who will accept it. In accepting it they do injustice to their art and their powers, and fortu¬ cess at Vienna in 1788. She has for her livelihood, and social pleasures, lack of the advantage of including a greater number under SAPPHO. nately this evil exists only through ignorance on other oratorios, a mass, over¬ system and other interruptions more than over¬ her guidance, and of inspiring more ardor and emula¬ the part of the student or his parents, and the In Greece, as in so many tures and even symphonies to balance the desire for work. In both cases there tion among the pupils. Teaching in large schools ignorance and lack of conscience in the teacher. ancient lands, women did not her credit. must be stem self-denial and concentration to attain gives wider opportunities for spreading true prin¬ 2, Women teachers greatly outnumber the men go about as now. Probably mv ic played an of slaves was certainly not enviable. The laws of The most famous German woman composer of her ends. ciples. Of course there are many sides to the question; who teach, and therefore I should say that as many important part in driving away thv tedium of that time provided that if a female slave were con¬ the nineteenth century was undoubtedly Clara Every opportunity in music that is open to a man so much depends on condition and location. In the women as men do have thorough professional train¬ their stay-at-home lives. But there is one name in victed of theft she should be burned alive by eighty Schumann. As Clara Wieck she became a famous is open to a woman, only from a force of circum¬ music centers of America the man teacher has de¬ ing and skill. But if the average man and average Greece that is famous even now—-that of Sappho. others. Per contra, if a woman scourged her slave pianist. Her marriage with Schumann, after his stance it requires more of a personal effort on her cidedly the best of it. His opportunities are much woman are compared, the advantage is with the man. Very little is known of her life, and that little is to death, she should do penance! Here, too, con¬ lawsuit against her father to show that he could part to grasp those opportunities. greater. He is a man, he can be called a “professor,” A man does not usually carry on the study of music not certain. She was born near the end of the ditions were hardly ripe for woman composers. support her, brought about a condition of idyllic 2. It may be said that no profession is more abused whether he has a right to the title or not. He is unless he intends to become a professional. If the seventh century B. C., either at Mytilene or at happiness reflected in the works of both. The list than that of the teaching of music. often a foreigner with a high-sounding name, with girl does not study with the same purpose she will Eresos, in Lesbos. She lived in the former place, ENGLISH GLEE MAIDENS. of her own compositions includes many songs and All over the country you will find young women prices correspondingly high. With our distrust not have the same training, and the average girl where she grew into fame through her poetry. She • Chivalry and the code of the Troubadours placed piano solos, some violin pieces, a piano trio and a especially who, with a foundation of musical knowl¬ heretofore of musicians of home manufacture, and does not take the music seriously at first. She and Alcaeus were the two 'leaders of Kolian poetry, women on a higher plane. In common with men. piano concerto. They are all of excellent quality, edge gained from one or two quarters’ lessons, our admiration for everything European, it is little regards it as an amusement or accomplishment sub¬ and a friendly rivalry existed between them. About they were able to sing their own music to the and a good song is more to be praised than an undertake “classes for beginners;” and to minds wonder that the imported professor has had a large ject to frequent interruption. She may turn it to the year 600 B. C. she fled to Sicily to escape some various poetic forms that they composed. The overswollen symphony. totally untrained in music they give vague, often in¬ vogue in America. Then, too, the professor has had account by chance in later years if financial mis¬ unknown danger. According to many, she met death In the early years of the nineteenth century correct, ideas. a great opportunity in the large schools in the im¬ fortune compels her. Th- girl, however, is usually Glee-Maidens, who flourished for some time in by throwing herself off the Leucadian Rock be¬ Emilie Zumsteeg became a wonderful sight reader, But it is supposed that this question deals pri¬ portant cities. Women cannot, as a rule, obtain a more conscientious student in any line of work England, were decidedly interesting and romantic cause her love for Phaon was unrequited. But able to play full orchestral scores on the piano with marily with the disciplined members of the profes¬ positions as heads of music departments, or as prin¬ than the boy is, and this earnestness balances to figures. Often they would wander about alone, there was an annual ceremony of casting from that with only the escort of a pet dog or a goat, or ease. Her home was the center of a brilliant circle sion, and in that case the answer is yes. cipal piano teacher. Fashionable schools, drawing some extent the lack of purpose in early study. of friends, including Weber, Hummel and Lind- In the studios of the great artist-teachers, and in their pupils from all over the country, usually em¬ 3. Wherever nature has bestowed a great gift in rock a criminal, with birds tied to him to break perhaps a dancing bear. They wore bright colors, his fall. From this grew the idea of unfortunate often adorned with silver, and on their feet were paintner. Her largest work was an overture to the music schools and colleges, men and women are ploy professors of reputation. It is sex, name and voice, hand or mind there is the greatest oppor¬ “Die Geister Insel,” but she was best known lovers leaping from the rock into the sea, and the leather buskins. They were welcome in castle and equal in the painstaking efforts of establishing a price that count; and so the professor secures the tunity, and opportunity which is not limited by sex. through her many beautiful songs. firm technic and cultivating a wide musical intelli¬ coveted prize. •expression may have grown symbolic, like our monastery as well as village and town. In the But for the average woman the chief opportunity Fanny Mendelssohn, like her brother, had the gence. But outside of the “professor” class women teach¬ phrase “Crossing the Rubicon.” is elementary teaching. The grades of this teaching latter they would mount some slight knoll and delicate hands which caused people to say that she 3. In music, as in all other walks of life, a woman’s ers, even in the great music centers, have a large will continually advance. It 'is fair to call Sappho a musician, for in her entertain a motley gathering with voice and violin. had “Bach-Fugue fingers.” Both before and after largest opportunity lies in her sympathy: the power and growing opportunity. This is shown by the time poetry arid music were not separated. Modern 4- A woman’s patience, intuition and ability tr be They often became famous, and we read that a cer¬ her marriage to the painter, Wilhelm Hensel. she of instructive understanding—of entering into the number of women who make a good and prosperous histories often call the old Greek music primitive both comrade and teacher with the child make her tain Adeline, one of their number, was rewarded led a life of happy activity, but she would probably life of another. living by their work. the best teacher for young children. and simple, but that statement overlooks the great with an estate by William the Conqueror. have composed much more than she did if her Thus it is that the women performers on the con¬ In the last analysis, when the things of music are possibilities of the Greek instruments, even in solo (Owing to limitations of space it is necessary to continue this But the greatest of them all was Marie de France, brother had not opposed any attempts at publication. cert stage to-day are such a power in our musical adjusted as they should be, there will be nothing work. Sappho was probably an excellent composer, symposium in the next issue. The opinions of Fay Simmons Davis a ]ongleuse of the time of Henry III. Born prob¬ As it is, her work is limited to a few songs and life. Thus it is that the keen appreciation of the but harmony between the two classes of teachers. and at Mytilene she gathered a large circle of the and Edith Lynwood Winn will bs given.') ably in Breton, she learned Latin as well as Eng¬ piano pieces and a piano trio. THE ETUDE 443 THE ETUDE 442 (do not let us call them “duties”) should never be thoven, while Marie Pollet and Theresa Demar 1,^ rk ”thh rS'S.”Sh“GiihTS sacrificed. Other women composers of note in Germany My own best work has been done since my mar¬ were Leopoldine Blahetka, the Austrian pianist, wrote for the harp. andCSweden Elfrida Andree, while from Venezuela riage. The sympathetic comprehension and high whose chamber music is excellent; Emilie Mayer, comes our own spirited Carreno. ENGLISH WOMEN COMPOSERS. artistic ideals which I have found in my own home who put really good music into her overtures and From these names it is evident that women are have spurred me to my best efforts, and marriage symphonies; Aline Hundt, who died at twenty-four, Women composers did not become numerous in now freely allowed to compose Whether they will England until after 1750. In the nineteenth century and motherhood have broadened and deepened my after writing choral and other works; Agnes Ber- ever equal men is a little doubtful; many claim that Music After Marriage and Motherhood we begin to find several, such as Ann Shepard whole conception of life and, therefore, art. nouilly, whose orchestral works have been fre¬ they will always lack the virility of a Beethoven. Mounsey, whom Spohr spoke of as a child prodigy; quently given; Louisa Adolpha Lebeau, gifted and Liza Lehmann thinks that women are handicapped Opinions of Some of the Most Famous Living Women Musicians Upon the Problem of Keep¬ ambitious, who had worked in overture, concerto, Mrs. Charles Barnard, known as “Claribel;” Virginia even by the lack of physical strength. As yet. there oratorio and many other forms, and Ingeborg von Gabriel and Charlotte Sainton-Dolby, the friend of has been no woman composer of the very highest ing Up Musical Work Without Neglecting the Home Bronsart, born at St. Petersburg, but of Swedish Mendelssohn. All these, however, wrote in a style rank, but that certainly is no reason why there may too simple and sentimental. The songs of Ellen parentage. She it was who came to Liszt at not be one in the future. During the last year an enterprising club of spiration and, best of all, the actual teaching material Dickson (“Dolores”) were somewhat better. eighteen, a dazzling vision of Northern beauty, and Southern ladies, who had formed a musical club, de¬ itself. With this monthly budget of educational The foremost woman composer of England was astonished him by her playing of a Bach fugue. cided that it would be interesting to hold a “Ma¬ help no mother need despair and complain of lack undoubtedly Alice Mary Smith, afterwards Mrs. THREE HELPFUL PHRASING HINTS. “You don’t look like that.” he cried in surprise. “I trons Contest.” Since that time women’s musical Meadows-White, who made composition her life- of opportunity. If you can also have the aid of an should hope I didn’t look like a Bach fugue,” was BY H. A. JEBOULT. clubs all over our country have been trying similar work. Her’music is always clear and well-balanced able teacher your p'rogress will probably be more her famous reply. She wrote three operas, a num¬ plans. A prize is offered for the matron who shows rapid and more secure. in form, with excellent thematic material and an The importance of accurate phrasing, especially ber of choruses and many excellent songs. the greatest advance as a singer or a performer in expressive charm of melodic and harmonic beauty. for all keyboard players, is being slowly realized; The following opinions of some of the foremost a given period. From a standpoint of personal com¬ writers and musicians of the day will unquestionably In the larger forms she has written two symphonies, the laws which govern its use are being discovered FRENCH WOMEN COMPOSERS. fort we congratulate ourselves that we are not com¬ four overtures, a clarinet concerto and an introduc¬ by theorists, but much yet remains to be done. In be of great va1- to our readers. Teachers who pelled to be the deciding judges in these interesting France has been more prolific than any other tion and allegro for piano and orchestra. Her the face of so much inaccurately phrased music, have mothers d wives among their pupils and contests. They do, however, point to what may be country in producing good women composers. chamber music, also successful, includes four piano which has and is being printed, unless the performer musical friends inould not lose this excellent oppor¬ considered a great national musical waste. Most popular to-day is Cecile Louise Stephanie quartets and three string quartets. Of her pub¬ possesses some inherited power of interpretation or tunity of bringing these opinions to their attention: Chaminade. She has written large works, such as lished cantatas, the “Ode to the Northeast Wind” has learned and (which is very much more to the her lyric symphony with choruses, her piano con¬ is the strongest. Her many part-songs are of rare point) applies the laws of good phrasing, all that ap¬ certo and the ballet “Calirrhoe,” from which some charm, as may be seen from the duet, “Oh, That We pertains to musical punctuation is still overlooked of her best-known pieces are taken. But it is by MME. LOUISE HOMER. Two Were Maying.” She died in 1884, at the age and ignored. her shorter piano works and songs that her success of forty-five. [Editor's contribution is made. Their piquant style and daintiness of As a rule, all reform is a matter of time forced on Among other orchestral writers in England Edith qtfainted wlt„__ „_„ „ modulation give them a charm that is unique in by public opinion that eventually effects the change. Greene wrote a symphony that was well received. emphasize all that she says. music. The “Scarf Dance” and “La Lisonjera” have Much has been done in recent years in the matter of Amy Elsie Horrocks, the pianist, produced the become most popular, but the “Contes Bleus,” for musical expression. People are beginning to under¬ s been continuously engaged as orchestral legend “Undine.” Edith A. Chamberlayne the Metropolitan Opera House piano, and such songs as “L’Anneau d’Argent” or stand that this essential beauty of music is based several t__ „„ „ ___ t has composed two symphonies. Edith Swepstone “Si j’etais jardinier” are of greater musical worth. upon such a hard fact as law and order, and is not Madame Homer fe of Mr. Sidney Homer, the well- brought out some movements of an unfinished ’-11 compos songs, and with their s and daugh- Augusta Holmes was another famous woman in the erratic whim of a long-haired, blue-eyed dreamer, ters they reside in New York during the 01 symphony, $nd the overture “Les Tenebres.” Rosa¬ who runs his slim and tapered fingers moodily oyer their home has all the attributes of the best 1 France. Of Irish parentage, she early became a lind Ellicott wrote three overtures and a fantasie m American domestic life. Mme. Homer's p< native of Paris, where she died in 1903. When only the pianoforte keyboard. Variety of interpretation biography appear in the gallery for the month.] for piano and orchestra. Better known than these eleven she conducted a quickstep of her own, played there will always be; but, in the main, fundamental is Dora Bright, whose two piano concertos were at Versailles. Her operas include “Hero et Le- principles must form the basis of all that is good in The great importance of music in the home is praised by critics for “original fancy and melodious andre,” “Les Argonautes” and “La Montagne Noire.” unquestionable, and I believe that the wife and inspiration of a high order, coupled with excellent She has written symphonies, but she is best known Phrasing in playing has been compared to punctu¬ mother fortunate enough to be musical has an in¬ workmanship.” Her fantasie for piano and orchestra through her large symphonic odes with chorus. ation in reading; a good simile when it is born in valuable help within herself toward home-making. was the first work by a woman to be given by the The “Ode Triomphale,” for the Paris Exhibition of mind that phrasing is more regular in its recurrence The earliest memories of her children are sweetened, London Philharmonic Orchestra. Ethel Smyth is MME. JOHANNA GADSKI AND HER DAUGHTER. 1889, was one of the best of these. Its success was than is punctuation in prose, while in poetry there and from the beginning she fosters their musical now well known because of her operas, “Der Wald” so marked that the city of Florence ordered from is a closer comparison. interest and ambition. and “The Wreckers,” the latter rather vehement in MME. JOHANNA GADSKI. her a work, the “Hymne a la Paix,” for the Dante All phrasing in music is denoted by the well-known style, but performed successfully in London. She moreover creates for them a magnet within festival. Her impressions of Italy are recorded in legato and slur mark: a simple method if correctly JMme. Gadski-Tauscher, the, famous Wagnerian soprano, the home, a common happiness which includes not . r-overbially happv. states W the suite “Au Pays Bleu.” Famous song writers are England’s most recent written. In passing, the thought occurs: if commas, product. Foremost is Liza Lehmann (Mrs. Herbert themselves alone, but their parents. And when 1 artist need not interfere with Marie Felice Clemence de Reiset, Vicomtesse de semicolons, full stops, etc., will ever be used in the domestic duties.] Bedford), who became famous through her cycle, music is a daily joy in the home it grows into a Grandval, is another name no less famous than it place of legato marks? The alteration will not be “In a Persian Garden,” with words from Omar real need for music in mature life. Thus the mother’s It seems to me that in any home, whatever the is extensive. She excelled in opera, and her Stabat without its benefit to students, especially young Khayyam. This is her best work, full of strong influence in this has been not only uplifting, but far- circumstances of the family may be, the love of Mater won high praise. Jean Louise Farrenc, of a ones, in the rhythmical performance of all practical reaching. expression, moving pathos and exquisite beauty. music. But this is anticipating—many years. By music and study of it can do nothing but good. It somewhat earlier period, wrote such good works in If a husband really enjoys his wife’s musicianship, is, of course, necessary that the girl who marries her youth that Schumann fell into the error of sus¬ Frances Allitsen passed a lonely youth in a .little the careful observance of all correctly placed legato this helps, perhaps, more than anything to stimulate and undertakes the care of a home should think pecting that they were not wholly her own. She village where, as .she says, “if a girl went out to marks three important details are made clear to the MME. LOUISE HOMER WITH HER TWIN DAUGHTERS. her to fresh study. She cannot be indifferent to it first of her practical duties and of making that home worked well in the classical forms—symphony, walk she was accused of wanting to see the young performer, and of course to the listener, as a result if it means rest and recreation for him. One hus¬ comfortable. But I believe also that music more overture, chamber music of many varieties, and men come in on the train, where the chief talk was of punctuated playing. They are: band I know finds his greatest pleasure after a hard violin and piano sonatas. Louise Angelique Bertin, on the subject of garments, and. the most extrava¬ I. Where the breaks in the legato (or note connec¬ Of the girls who spend hours and hours at the than anything else can be made a means of keeping day at his office in spending his evening listening of the same period, made many successes in opera gant excitement consisted of sandwich parties.” At tion) may be made. This is the act of musical punct¬ keyboard during their youth, comparatively few ever the family together for their mutual pleasure in their to his wife’s singing. And her talent becomes a evenings at home. and wrote verses that won a prize from the French last she came to London, where she taught in the uation and informs the student where commence¬ try to make the musical skill they have acquired the Academy. day to earn money for her evening studies. After ments and terminations may be made by the way. foundation for higher achievement in the art later vital part of the happiness of the household. Neither do I believe that the duties of a wife and Pauline Viardot-Garcia was sister of Malibran and braving all difficulties she won a weil-deserved suc¬ For instance, in detailed practicing it is very neces¬ in life. Marriage is only too often the dismal end Most women who love music dearly and have re¬ mother need interfere in any way with the career daughter of Manuel Garcia. She was with him cess. Besides her songs, her two overtures, “Slavon- sary for the pupil to know where to commence or of all musical ambition. We are of the opinion that ceived more or less musical training are contented of an artist. Each interest has its own place, and when a band of Mexican train robbers held him up, ique” and “Undine,” were both successful. Mrs. finish rhythmically during the course of the compo¬ the custom of ceasing all attempts to advance in if they can go on with their studies and make music need not conflict with the other. And the more relieved him of his cash and added insult to injury Rhodes (Guy d’Hardelot) is another of the gifted sition. It will be noticed that the legato mark may music after domestic responsibilities have com¬ in their homes, and their lives would be incomplete fully an artist has lived her life as a woman the by making him sing for them. But they escaped song writers, who has written for Mme. Calve some be considered in two and opposite aspects, viz., (a) menced is due to tradition, indolence and a false without this privilege. But there exist other women, more understanding she has to bring to her art. further trouble and returned to Europe, where clever acting songs, such as “The Fan.” Maude note connection (all notes embraced by the mark) and conception of the real office of the wife and the more gifted, who often cannot be satisfied with this Pauline found a career of fame and honor as an Valerie White, of an earlier generation, wrote many (6) note disconnection (at the end of each mark). mother in the home. alone. opera singer. On leaving the stage she taught and songs of excellent workmanship. Agnes Zimmer- Probably more benefit is gained by She student in Our ladies are often willing to make the press-, Their natures obey that profound law which gives composed at Baden-Baden. Her works include mann has written many beautiful violin works. considering the second contention, as of course dis¬ ure of home cafes an excuse for their failure to to every unusual talent a passionate desire for ex¬ operettas, piano solos, violin pieces and some excel¬ connection implies a previous connection. succeed in music. We know, personally, ladies who pression. If these women marry and are forbidden g 01 ner numerous t lent singing exercises. Her daughter, Mme. Heritte, AMERICAN WOMEN COMPOSERS. states ana Europe, and at the same time to maintain her II. The legato mark denotes where the rhythmic have considerable responsibility, but who, by a ju¬ by their husbands to have a professional career, and place m her home. Mrs. Zeisler has three fine sons and is also a composer, having produced operas, string In the United States Mrs. Beach stands at the accent occurs. As the first note of a new phrase al¬ dicious arrangement of their time and household therefore a wider giving out from .themselves, they her husband is a prominent Chicago attorney.] quartets, songs and piano works. head of the list, as she has done much in the large ways bears an accent (which forms one of the great¬ duties, are able not only to “keep up” their music are necessarily unhappy, and their lives are marred, “My own experience makes me quite willing to Gabriella Ferrari, pupil of Gounod and Dubois forms. Her “Jubilate” cantata was well received at est factors in rhythmic playing), this note is defi¬ but to show a most praiseworthy advance. Their however rich they may be in domestic joys. admit that the successful pursuit of music-study has written good orchestral suites and a comic the Chicago fair. Her Mass and Gaelic Symphony nitely denoted by its position and is easy of interpre¬ homes are by no means the untidy, neglected houses I have met many women, incidentally, who, when after marriage and motherhood demands a great opera, besides the usual piano pieces and songs. have also been performed. Her piano works, songs tation. The matter of good accent cannot be over¬ filled with slovenly children, and the litter of cul¬ the conversation turned naturally to music, surprised amount of energy and ambition upon the part of a Her “Fantasie Symphonique” and “Jeanne d’Arc” and violin sonata are well known in many countries, estimated in teaching, as it imparts a life and a vigor ture that our comic newspapers would have us be¬ me by showing a large knowledge of repertoire, of woman. The mother who is blessed with a large are often performed. Among French opera com¬ especially in Italy. Margaret Ruthven Lang has entirely absent when it is ignored. Many teachers lieve must be associated with the mothers’ attempts the best song literature, of all the well-known posers Elizabeth Claude de la Guerre, admired by family of young children may fail to see the way written several overtures and orchestral arias, as entirely overlook the importance of both the rhyth¬ to advance themselves in artistic work. We should operas; and when I would perhaps express my sur¬ Louis XIV, made a success with “Cephale et to develop her musical ambitions, but if she can well as many beautiful songs and piano pieces. mical and the expressive accent and rely exclusively not be unwise enough to encourage the mother of prise they would reply, “Oh, before I was married Procris” in 1694. In the next century Henriette de possibly find a means and is genuinely sincere in Mme. Helen Hopekirk’s piano concerto is a worthy upon the old cut-ancl-dried accent known as “metri¬ a very large family, entirely without domestic help I studied singing with Signor - in Italy for Beaumesnil occupied the foremost place. Lucile work, dignified and musicianly. In the smaller her desire to better herself I am sure she will be cal.” Careful observance of the legato mark will of any kind, to try to make any advance along cul¬ three years (or perhaps with some able teacher here Gretry, daughter of the composer, produced two forms America has a host of composers who are cure this musical illness. tural lines until she could secure some relief. How¬ richly rewarded for her efforts. operas before her untimely death at twenty-four. in America), but,” in a changed voice, “my husband becoming better known every day. The native list III. The legato mark denotes where the continuity ever, there are thousands of mothers and wives who Let us take the case of the mother who has large Edme Sophie Gail-Garre flourished early in the does not approve of my singing in public.” is, however, too well known to require detailed of tingcring may be broken and where the position of could add greatly to their joy in life by the regular domestic cares and who cannot afford a servant nineteenth century, while Pauline Thys met success And I have often been conscious of not merely a description. the hand may be changed. As it is a well estab¬ study of music without allowing it to interfere much Instead of permitting her love for music to pass in its later decades. Marguerite Olagnier is another disappointment, but a tragedy—a gifted soul hindered Other countries have their composers, too. In lished fact that good fingering is only particularly with their domestic duties. In fact, in many cases before her very eyes into the ghost of an aban¬ good opera composer, whose “Sais” and “Le Persan” m its natural expression and unable to stifle its Italy Carlotta Ferrari and the Countess Gilda Ruta required in legato passages—staccato work, except music has proven a positive relief from the hum¬ doned ambition, let her seek the expedient of hav¬ are very beautiful. Marie de Pierpont was a tal¬ craving for such expression. This is a problem have produced operas, while Eva dell’Aqua writes for the technical act of finger discipline, being drum monotony of an aimless existence. ing a mother’s helper or a ‘kindgartner’ come ented writer for organ. Another great organ com¬ which must be solved individually. good songs. Maria Teresa Agnesi wrote in almost largely exempt from this law—it naturally follows Even though you may be unable to secure the m for a few hours each day. If this is not feasible, poser of earlier date was Louise de la Hye, a grand¬ But I want to make myself absolutely clear upon all forms in the eighteenth century. Holland has that where a break in the legato has to be made it services of a capable teacher, you should not be let her gam the friendship of some neighbor who niece of Rousseau. She died at twenty-eight, a one point. If a woman has not the strength of Catharine van Rennes and Hendrika van Tussen- is better done by raising the hand from the key¬ discouraged. The Etude offers enthusiastic students might be willing to help her by amusing the chil- professor of harmony in the Conservatoire. Marie character or physique to fulfil both her domestic and braek for songs and Cornelia van Oosterzee for board; consequently it is free to descend in a new facilities that were unknown thirty years ago. It Bigot was a piano composer and friend of Bee- artistic duties, it is the latter always that should be Wh\f°r 3n ,h°urpand thus Permit her to practice. more ambitious works. In Belgium Juliette Folville position.—Musical Opinion. What a wealth of relaxation that hour can bring carries to your door, every month, instruction, in- neglected. In other words, the domestic pleasures to the right-minded woman! Rest by no means con- THE ETUDE 445 444 THE ETUDE guests and various other items of interest. The one glance as he walked past the shop. It was tellectual life of the home, the less liable SUCCESSFUL MEMORIZING. merely drill. Anyone with a will can master the she attempts to break into cultured society. Two article was about seven inches long, in the fine type husband to seek his pleasures elsewhere I problem. Another plan is to cut up sheet music in centuries ago monarchs were plenty who could not used for local news on the back page of the New making the home happy, music, good books ind short sections and gum them to cards, adding the sign their own names. The world is continually Some Remarkable Experiments in Memory. York Tribune. I listened while the girls repeated fine pictures play a very important P« . “d every word that was familiar to them in the long staff for signatures, and deal them out to the class, advancing, and the child who is musically ignorant home barren of these potent forces is often tne article. The only hesitations were over the Italian face down, to be turned up for a certain time and is to be pitied. Mothers should recognize this and reason for much of the lamentable unhappiness BY KATE C. CHITTENDEN. names of some of the songs. then use. by keeping up their own music encourage their chil¬ of married people. The wife who can keep up her It is also an excellent plan to have a pupil glance dren to secure a musical education.” THE METHOD EMPLOYED. music after marriage should make every effort to en was requested to- prepare the following at a group on the page and then specify in words do so, as she will be repaid in almost every case. /or The Etude, giving her experiences with Upon inquiry I found that twenty minutes were every mark, note, rest and fingering. Still another MME. MARCELLA SEMBRICH. / xcellent ideas upon the subject of memorizing evolved by Miss AAiken We have seen these methods demonstrated and spent every morning upon this kind of drill. The plan is to have the group articulated by the fingers Tit is not necessary to mention Mme. Sembrich s devotion e convinced of their soundness. Miss Chittenden has been girls were taught not only to see the actual things and hands away from the keyboard. Quite fre¬ to her home and to domestic ideals, as attention has already MME. ERNESTINE SCHUMANN-HEINK. unusually successful as a teacher, orgunist and originator of been drawn to these in The Etude for April of this year.] musical educational Ideas. before them and to hear, but they also learned to quently I have succeeded in getting a backward Shall I repeat what I have said so often—to be New -~— recognize the exact size of objects. Lines of given pupil to memorize scale fingering by extending the ability.—Editok’s Note.] I consider the matter of continuing music after * mother is the greatest and noblest privilege withn lengths were drawn upon the board, and a degree of arm—with the eyes shut—and “feel” the fingering marriage a very serious and important one. Of the gift of the Almighty? Nothing in the world is While there are three primary ways in which one accuracy was gained that made them able to judge up in the air. And the same plan serves for diffi¬ so precious as this—to observe how the intellect of what value are the vast amounts.of money invested, may choose to memorize pianoforte music, each of of the exact size of any objects they might be inter¬ cult passages, such as runs and arpeggios. the child gradually develops; nor is there anything the hours of practice spent and the great energy the ways is a complex process. There is the school ested in. The work was carried through in litera¬ Assuming that a pupil has reasonable familiarity so inspiring or ennobling as the first smile of rec¬ and attention put forth by young women in learning of thought that insists upon a memorization of the ture, the study of poetry, history and various other with keyboard and notation, the task of memorizing music, unless they have some means of profiting ognition and love that the baby gives to its mother. exact appearance of the printed page with every de¬ branches that depend upon accurate memory. would seem to progress in the following order: I have raised all my children myself, and thus Select a small group; first, visualise it so that it from their work in after-life? Of course, a musical tail stamped indelibly upon the retina. There is And subsequently, upon the last occasion when can be seen with closed eyes; second, hear what is training in itself is valuable from an educational have known that wonderful joy that means all the the school that advocates the impression upon the Miss Aiken appeared at a commencement, I heard visualized—for no one ever becomes a true musi¬ standpoint, but it seems pitiable that so many girls world to a mother. I know no reason why an artist mind of the exact keyboard position of each note, the teacher of mathematics call off a series of num¬ cian who has not the hearing-eye and the seeing-ear; work for years only to abandon their musical work can not follow the career of a singer or an actress and thirdly, there is the school that relies upon the bers to be added, subtracted, multiplied, divided, third, feel the sensation of the muscular contact of when they become wives. Of those girls who study, in ideal manner, and still at the same time be a good muscular impression left by practice in the hands squared and cubed, which took about five minutes, the hand and fingers upon the keyboard before there only a very small number ever become professional wife and mother. The mother’s love for her chil¬ and as she said “Result” the simultaneous reply themselves. Each kind must be associated with the is any contact of the hand with the keys; fourth, artists. The realm of most of them must be in the dren gives to every good woman great personal came from all the voices. On that occasion General memory of the actual sounds. see the contour of the hand as it must appear when home, but musical mothers in our homes have an fortitude. Why then should not this same force de¬ There are probably few people who use any one Stuart Woodford was the speaker, and his address the group is performed. Mme. Marcella Sembrich. influence no less significant than the great artists velop and ennoble the character of an artist? I am of these three ways exclusively, and probably there followed the mathematical demonstration. He on the concert stage or in the opera house. sure that it does,-and rejoice because it helps me. is more muscular memory than any other kind, commented upon the mental agility and concentra¬ MEMORIZING NECESSARILY SLOW. for an observant onlooker is constantly seeing tion displayed, and after his speech Miss Aiken sists of ‘doing nothing,’ as some people imagine. I know that there are cases where it is quite out Gladly have I endured the many trials, for several It may be urged that this is a very slow process. pianists, whose memory has played them false, look arose and said, if he wished, she was quite sure Rest is best when it provides you with a change of of the question for the mother to continue her mu¬ times sorrow has stood at my side, but to-day I Of course, it is slow! But is it anywhere near so away from the instrument and leave the hand more that the young ladies could repeat to him, verbatim, occupation and indulgence of your personal tastes. sical work after marriage. The limited income and bless the past because it has made me rich, because slow as the ordinary way in which pupils practice, or less automatically to find its way back to the what the teacher of mathematics had called to the “I confidently believe that the expense necessary the burden of domestic duty make further study im¬ I possess my beloved children, the most noble and where hours of slipshod stumbling are spent in correct performance of the missed passage. class; whereupon the class stood up and recited to procure the services of a mother’s helper, by possible. Even daily practice is ofttimes impracti¬ skimming over the pages of music, omitting or priceless treasures of all I have. It was my good fortune many years ago to be the whole list. I have kept in touch with a num¬ which the mother may be permitted to continue her falsifying many notes and all of the dynamics so that cable. All such wives and mothers who have mu¬ Now I have really become a grandmother. Never¬ invited to go to the Catherine Aiken School, at ber of Miss Aiken’s old girls for nineteen years and musical work, would prove a good financial invest¬ an accurate, honest rendering of everything intended sical aspirations can do is to wait for the turn in theless I feel indescribably fresh, young, happy and Stamford, Conn., at the time when Miss Aiken’s the keen-wittedness mentioned above characterizes ment. How? In the first place the mother’s health by the composer is an impossibility? If a pupil can the wheel of fortune to place them in position to glad. With my little George Washington Schumann- influence was the strongest and the school at its the women to-day as clearly as when they were' will be benefited in almost every instance. The continue their work. When it comes to the ques¬ Heink I play like a care-free child. best. I arrived in Stamford about nine o’clock school girls. I had one of them as my assistant at be induced to master four measures only'each day, strain of home cares and home ties, the burden of inside of a fortnight the quota can be doubled, and tion of whether the music or the home should be Since my voice is unquestionably better than in and reached the school just after the morning Vassar College, and in a connection of seven years, manifold duties which only a mother can realize, any student who can absorb forty-eight measures neglected, no sensible woman will think for a mo¬ the past it would seem that I am an example of the prayer was finished, and the mind training, which where there were innumerable details to be remem¬ will be greatly lessened by this innocent relaxation. bered and carried out, only twice was anything for¬ in a week and have them stored away infallibly in ment that she can neglect her home without forfeit¬ kind of life which I have led. Let us hope that the made Miss Aiken famous, was to begin. I sat on No study demands the concentration that music ex¬ gotten during the whole seven seasons. the mind can have a fair-sized repertory at the close ing the highest privileges of womanhood and moth¬ older and more normal methods of life, together the little platform with Miss Aiken, and watched acts from its students. While studying music the for half an hour what seemed to be a miraculous of a season which will remain in the memory for mind must be upon music and nothing else. It erhood. The first duty must be to the home, and with the dear old music of the past, may return to MEMORY IN HISTORY. all time, because pieces studied in such a fashion it is in the .home that the real woman will find her display of mental powers. would make the practice hour a kind of mental va¬ us, and that they will develop stronger, healthier I have dwelt at some length upon these points need very little reviewing when they are taken up greatest joy. The first exercise was a series of numbers in cation from everyday occupations of the household. women, children singers and artists, and that they thousands. Miss Aiken wrote the figures upon the because they demonstrate what can be done by a again after a lapse of time. If a woman has had a genuinely good musical Secondly, there is no way of computing the value will bring a more rational art to this wonderful and blackboard and then swung it on a central pivot little consistent work carried on unremittingly for of the mother's music-study in the moral and in¬ training, it is surprising how little practice will en¬ beautiful world, to the everlasting praise of the around once rather slowly, so that the girls had a long time. The pendulum in education is very apt tellectual education of her children. Of course, I able her to keep it up. Sometimes half an hour Architect of the universe and the Creator of all possibly two seconds in which to see the contents to swing from one extreme to the other. Memory am not speaking of mothers who permit their chil¬ a day devoted to the proper kind of study will ac¬ good things. of the board. There were eight numbers, each of has played the greatest part in the education of all WHAT SIX MONTHS WITH CZERNY’S dren to grow up ‘.like weeds,’ without any intelligent complish much excellent work, providing, of course, I send a thousand greetings to The Etude and to which had four figures, and instantly the whole the earlier races. Without doubt the keenest in¬ STUDIES DID. home direction. that the foundation has been properly laid. my dear brothers and sisters in America. school recited the complete series. tellects that the world has produced have been the “Music makes the home attractive and brings in¬ In families where there are children, the musical Next the blackboard was cleaned and a num¬ great Hindoos, and the high-class Hindoo for thou¬ BY MAGGIE WHEELER ROSS. terests into it which keep boys and girls from the mother can oversee their musical work; and more ber of ciphers inscribed, some of which were sands of years has been trained to memorize any¬ less ennobling influences they are likely to find out¬ erased afterward, because the sound of the chalk where from thirty to fifty thousand lines of Sanscrit than this, she can keep in touch with their future side. If we do not make our homes attractive, how could be heard by the class, and by erasure the pos¬ literature. The Jewish race, at its prime, educated work in music. This should in itself be a source of In these days of many methods, and numberless can we blame our children for seeking diversion sibility of counting the chalk sounds was eliminated. its boys through the memorization of thirty thou¬ technics and etudes, it is sometimes well to turn great satisfaction and enjoyment to the mother. without? The mother who keeps up her music can The board was swung once again and instantly the sand lines of Talmud. During the lifetime of the for real results to the teachers who made history. assist in creating a taste for good music, and help The mother who by reason reply came, giving the correct number of ciphers passing generation the pendulum has swung to the After a rigid course in some of the modern tech¬ to depreciate the barbarous musical trash that pub¬ of the child’s superior edu¬ that were seen. Several other similar exercises opposite extreme, where reasoning processes have nics, followed with assiduity and patient, painstaking lishers of such junk continually pour out upon our cational advantages finds were done, always with the same unhesitating ac- been exploited to the exclusion of memory, with the regularity, I found my fingers stiff and my touch American homes. herself intellectually di¬ consequent result that to-day it is practically impos¬ heavy and unmusical. In my distress I chanced Finally Miss Aiken asked me to write something, sible to find young men and women or children who i: “Most children have a keen sense of the gen¬ vorced from her children upon a teacher of the old school who is without a word, musical signs, figures, or anything that I can memorize even a short hymn without great uinely beautiful. People like good music when they is to be pitied. No one can fads and fancies, and he prescribed for me a good have an opportunity to hear it properly performed. chose, in each of the twenty-four squares into effort. allopathic dose of Czerny. Acting upon his advice, hope to superintend the MUSICAL APPLICATION. They put up with miserable, vulgar, inane trash which she had divided the blackboard by lines. I I purchased volumes one and two of the Emil only because they do not know the joy that comes child’s musical work as had never seen either Miss Aiken or any of the girls If we begin with children from the first lesson, Liebling Edition of Czerny. These studies were from the understanding of good music. The mother conscientiously and de¬ before, so that my manner of writing was unfa¬ utilizing all three kinds of memory, as enumerated played daily for six months, with no other technical miliar. The board was whirled once again and the who does not endeavor to procure for her children votedly as can the sensible in the beginning of this article, consciously apply¬ work, except major and minor scales played light complete class recited in order, from the left-hand this privilege is on a plane with the parent who does musical mother. ing each where it can best be used, the pupil must and fast, with fingers close to the keys, avoiding top square to the last right-hand bottom square, not encourage her child to admire a Rubens, a The wife who can play or inevitably form controlled habits. Where a piano all slow and heavy forms, or high finger touch. every item that I had written, with the exception of teacher is able to give short daily lessons the re¬ My aim was always to be for lightness of touch Corot, or a Titian, rather than a cheap chromo, or sing should be in a position a quarter rest, which was made in the form usually sults come with surprising speed. One difficulty and delicacy of execution. I was cautioned to omit who leads it to take more interest in a dime novel to add greatly to her hus¬ found in manuscript music, which, of course, was than in the works of Stevenson, Dickens or Thack¬ that thwarts efforts in visual accuracy with children all the heavy exercises, and also the long stretches band’s happiness. Some¬ unfamiliar to them. is the small size of staff and notes. Several music eray. Good music, even though it be poorly played and sustained notes, confining myself exclusively to times, however, one hears I began to have a feeling of uncanniness, for each publishers supply music paper with the lines more the light, delicate studies of the velocity style. by a mother whose practice opportunities are exercise had been a little more of a test of vision of husbands who have an than an inch apart. With a little care anyone can The result has been so gratifying I pass it along limited, is better than the so-called ‘coon songs’ than the last. Then Miss Aiken opened her desk aversion to music and who learn to write music with a wide-shading pen upon to others who may be in the same “slough of and ‘rag-time’ of our day. drawer and took out an article cut from a news¬ the large sheets, and by judicious selection the , “As for the wife or mother who starts the study oppose every effort made despond,” and who may not be so fortunate in paper, upon which she had written the date “April teacher can make sample problems in pitch or meeting a liberator. of music after marriage, she will find it a much to promote music in the 23.” This was the second day of June. Miss Aiken rhythm which can be exhibited to the pupil for a I am not prepared to say that the course of home. Wives who have explained to me that she had read the article once more ennobling diversion than bridge-whist or many given length of time, after which the child must modern technics was without results, because a good of the present-day pastimes. It will be more of a such husbands are in a to the girls on April 23; then turning to the class sing, play or clap the sample. In class work this she gave them its title and said that they should hand position and great strength may be accredited struggle, it is true, than for those who have had most unfortunate position. plan works admirably, and I have seen capital re¬ to it, but the equalizing gained by this period with recite it. I watched the paper while the girls re¬ sults in a relatively short time. some musical training in their girlhood, but it will It is impossible to give ad¬ peated, without hesitation, word for word, what was Czerny is certainly most pronounced, and I should he worth the while, if the desire is strong enough. vice for such cases. Hap¬ The Emperor Charles V of Germany noticed a advise all piano students who find themselves before my eyes and what they had only heard once. toy shop outside the gates of his castle, where the “Very few people are musically ignorant nowadays. pily they are rare. I have cramped, stiff and clumsy of movement to set them¬ Then Miss Aiken sent for the morning paper, and, owner changed the window display frequently, and Almost everyone has had some musical training, always felt that the more turning to the back page of the Tribune, she read selves the same routine and faithfully pursue it for he discovered to his chagrin that his vision worked a fair trial. and the wife who is entirely without a musical edu¬ interesting the wife made an elaborate account of the commencement exer¬ so slowly and inaccurately that he had to spend We must never forget that Czerny was the cation may find herself somewhat embarrassed if the social, artistic and in¬ cises held in Mrs. Reed’s school, in which a descrip¬ considerable time in order to discover all of the teacher of Liszt, and that his material is used and tion was given of the several essays, the songs, the contents of the window. He persisted in his efforts pianoforte pieces, togther with the names of the recommended by Leschetizky, which is certainly until he was able to grasp all of the items in the no insignificant honor. 447 THE ETUDE MRS. TROLLOPE’S CRITICISM. 446 THE ETUDE That observing English lady, Mrs. Anthony Trol¬ attained wide popularity in h**Jj!* ^ brook lope, visited this country in these early years of the h are still heard. “Clear and Cool, the D nineteenth century, spent five years among us and song, is perhaps the best known.. Most ot he works were published under the nom de ptu as a result wrote her book called “The Domestic Manners of Americans.” She found among us very n J,r^l°reSV o An American contemporary little music and that lamentably bad,” voted us a AMONG FAMOUS WOMAN wrife’rthe'author of the-Story-of Major C,” a dull lot—“I never saw a population so divested of “WHO’S WHO” book for children, dealing with harffl0nJ; gayety; no fetes, no merrymaking, no music in the streets.’ Their large evening parties are supremely MUSICIANS dull. Women herd together at one end of the room and men at the other, sometimes a small attempt at music produces a partial reunion; a few of the most Is preparing a list like the following it is regret¬ Brisson (Mile.). A Parisian composer, born 1785- Her compositions attained considerable popu¬ pupil of Liszt, Tausig and Kullak, andisweU daring youths, animated by the consciousness of table that the limitations of a journal of the size of known as a pianist and teacher. Her book curled hair and smart waistcoats, approach the pia¬ The Etude permit us to give recognition to only a larity. Brower (Harriette). An American music teacher “Music-Study in Germany,” has been more noforte and begin to mutter a little to the half very few of the women who have devoted their whose contributions to musical journals are widely read, perhaps, than that of any other grown things, who are comparing with one another lives to the art of music. No attempt has been made valuable. woman writer on music. ,_, how many quarters in music they have taken. to give special recognition to vocalists, as their num¬ Bugbee (L. A.). A composer of this country w-hose Fletcher (Alice). A well-known Where the mansion is of sufficient size to have two ber is so gt-eat that a mere mention of them would gist, whose book on “Omaha Indian Music is drawing rooms, the piano ladies and the slender children’s pieces and studies have attained a We hear the first word in regard to the American require pages. This list is confined to composers, both interesting and authoritative. The ancient civilizations vested the supreme gentlemen are left to themselves and on such occa¬ wide popularity. pianiste from the lips of a Frenchman, Pierre Bris- pianists, writers and violinists. In order that it Carew (Lady Henry). An English song writer Fletcher-Copp (Evelyn). American educator and power of musical inspiration in their goddesses; the sions the sounds of laughter is often heard to issue sot, who visited this country after the revolution might be of present use, the list of composers was whose compositions have met with favor. Her creator of important kindergarten methods that Christian Era saw Saint Cecilia the patron saint of from them. But the fate of the more dignified per¬ and having heard some girls play exclaimed, prepared by an expert in the retail music business “The Bridge” is so far considered the best. have elicited wide and authoritative approval. music; mediseval times found the troubadours seek¬ sonages who are left in the other room is extremely and includes only the names of those composers “God grant that the women of Boston may never Carreno (Teresa). This celebrated pianist is also a Forman (Mrs. R. R.). An American composer of ing inspiration in the noble ladies of their time; but dismal. The gentlemen spit, talk of elections, the whose works have a sale at this day. In^the inter¬ composer of brilliant piano pieces. She wrote songs and choruses whose works have been it was not until the Italian Renaissance that woman like those of Paris, acquire ‘la maladie de perfec¬ price of produce, and spit again. The ladies look at esting little volume, “Woman Composers,” by Otto the national anthem of her native land, Vene¬ very favorably received. became an interpreter of music. The harpsichord, tion’ in the art of music, that destroyer of domestic each other’s dresses until they know every pin by Ebel, over eight hundred women composers are zuela, and has had a remarkable career, both as Gabriel (Mary Anne Virginia). 1825-77- An Eng¬ virtues.” That aggressive little city that first sound¬ heart—talk of parson somebody’s sermon on the represented. We advise our readers who may desire one of the precursors of the pianoforte, was the a singer and as a pianist. She was born in 1853, lish composer of songs and cantatas; a pupil ot domestic instrument of that time and we read of ed the tocsin of war and was the home of the first last day of judgment. Doctor so and so’s pills for further information upon this subject to refer to the Thalberg. Many of her songs achieved a world¬ women’s club formed to eschew the drinking of the dyspepsia, until tea is announced, when they con¬ above-mentioned book, and also to Mr. Elson’s val¬ and possesses a fascinating personality. many young ladies as clever players, Scarlatti’s wide reputation in their day. beloved beverage, the overtaxed tea, saw, too, the sole themselves for whatever they may have suf¬ uable volume, “Woman’s Work in Music,” as well as Carmichael (Mary). An English composer whose daughter bearing off the palm. Gaynor (Jessie L.). A Scotch-American pupil of fered in keeping awake by tea, coffee, hot cake, cus¬ “Celebrated Pianists of the Past and Present, and compositions have attracted attention. She was first efforts of the American girl to express her born at Birkenhead and is a pupil of Dr. Prout. Louis Maas. Her songs are very attractive and musical ambitions. Already some French teachers tard, hoe and johnny cake, waffles, pickled peaches, Geo. P. Upton’s fascinating little book, “Woman in free from maudlin sentimentality. THE VIRGINAL. of music and dancing had come, driven from home preserved cucumbers, ham, turkey, hung beef, apple Music,” which deals with the influ¬ Born at St. Louis. Contemporaneously in England the virginal was by their own revolution. pickled oysters.” ence which women have had upon Glover (Sarah). 1785-1867. She was the a called because it intended for the the great composers. Those who inventor of the Tonic Sol-Fa sys¬ of girls, or as some say, 1 honor THE FAMOUS PIANO MAKERS. seek information regarding great sing¬ tem, afterwards more fully devel¬ of the virgin Queen Elizabeth, who is ers of to-day will find “Stars of So much for catering to feminine oped by Curwen. This system has said to have been a skillful performer. the Opera,” by Mabel Wagnells, an taste. The Boston piano maker was achieved such widespread popular¬ At any rate, the instruments from the excellent and attractive work. It has now, in 1840, making his pianos with ity that the greatest credit is due fifteenth to the eighteenth century, the been impossible in many cases to se¬ to her ability. iron frames, and the German pianists harpsichords, virginals and clavichords, he brought over were giving concerts cure the dates of the birth of many of Gill (Lorna). American writer of dis¬ all precessors of the pianoforte, were surrounded by open-eyed girls eager the composers. tinguished ability. played almost entirely by women and to learn, who played nothing but “The Goodeve (Mrs. Arthur). An English the music specially written for women. COMPOSERS AND WRITERS. Maiden’s Prayer” and “The Battle of composer of songs and ballads. They called for essentially feminine Prague.” The pianists cut up all kinds Abbott (Jane Bingham). An American Her “Fiddle ami I” won great pop¬ qualities, flexibility and grace, lent of antics, made all kinds of noise and composer of songs. ularity a few years ago. themselves to numerous coquetries, to played thunder and lightning and bat¬ Adams (Mrs. ' Crosbie). The piano Grandval (Maria Felice Clemence de gay and sprightly melodies, to the reg¬ compositions of this American tle pieces. During their few weeks’ Reiset, Vicomtesse de). Born 1830. ular beat of the courante, minuet and writer are very popular. stay in each city the ambitious girls A pupil of Flotow and Saint-Saens, sarabande. Allitsen (Frances). A contemporary also temporarily of Chopin, is one Meanwhile, across the seas the Puri¬ engaged them for lessons. They, of English composer whose songs are course took their money, but their of the most brilliant women com¬ tan maidens were living under the well known, the most popular be¬ posers of our time. Her operas strict discipline of the Church; their seriousness as a huge joke. It was the ing “Love Is a Bubble.” have been well received in France, chief amusements consisted in analyz¬ fashion that every well-bred girl should Aus der Ohe (Adele). A German vir¬ her church compositions are of play, for did not this ladylike accom¬ tuoso and author of songs and pi¬ ing their sinful natures—no merry great beauty, and! her orchestral plishment show off her slender waist, ano pieces. Made her American songs, no sprightly dances, no books works, chamber music, etc., pos¬ but sermons, though there were a few her coquettish curls and tacering fin¬ debut 1886. sess remarkable individuality. stories in which the heroine did gers? It was the weapon to attack Aylward (Florence). An English com¬ the masculine heart; what passion can¬ poser whose songs are well known Griswold (Gertrude). An American nothing but hurl texts at her friends SOPHIE MENTOR, liszt’s pupils. not music raise and quell? She learned and liked. Born 1862, in Sussex. composer of songs whose popular¬ and relatives. No instruments to play, ity is well deserved. for these were banned as “inventions to play a few pretty tunes for com¬ Andrus (Helen). An American contem¬ pany, just as she learned to paint a porary composer of songs, orchestral pieces and Chaminade (Cecile). This distinguished French Hudson (Octavia). American writer of interesting of the devil” and “popish devices;” few pictures for the parlor, half of organ music. Born at Poughkeepsie, N. Y. composer and pianist was born at Paris, 1861. educational articles, plays, etc, for children. nothing but the lugubrious singing of JAMES MCNIELL WHISTLER. whi,ch was usually done by the teacher. Ashford (Mrs. E. L.). An American composer of Bizet and Ambroise Thomas were much im¬ Hughey (Fannie). American writer and teacher. psalms. A girl had patchwork quilts pressed by her powers as a composer in her Hammer (Marie von). A contemporary American and tambour work, her gardens of Her notes always before her, people songs, organ pieces, etc. THE ADVANCE OF THE PIANO. Backer-Grondal (Agathe). A Norwegian contem¬ eighteenth year, and prophecies then made have composer whose songs have been well received. phlox, daffodils, southerwood, the latter recom¬ might think she was not able to read the cabalistic signs, as very frequently she was not. She must, porary composer of exceptional merit, who has been more than justified. She is perhaps the Daughter of the organist, Albert H. Wood. mended to cure “vanities of the head,” petunias, “a At the end of the eighteenth century Europe saw however, fulfill the requirements of the ideal girl of written songs, orchestral music, etc. Bom 1847. most popular of all woman composers, and her Hagley (Sarah A.). An American writer of songs sprig of which placed in each shoe promised, when important musical changes—saw the piano made by the period—the wasp-waisted creature, who scorned Pupil of Kullak. music is played all over the world. and piano pieces. in love, great experiences.” She gathered in field a French manufacturer, that revolutionized the art Bardarczewski (Thekla). A Polish composer of Cram (Helen L.). An American composer whose d’Hardelot (Guy). A French composer residing in and garden, herbs and flowers to perfume the linen of playing; saw it not only a vehicle for the display the vulgarity of an appetite, full of tears, dyspepsia and graceful fainting spells. piano music. Born 1838, died 1862. Composer songs have achieved popularity. London, who has successfully blended French closet. “In every garret were great bunches of of flexibility but also one for the exhibition of Crowningshield (Mrs. Mary Bradford). This Amer¬ of the “Maiden’s Prayer.” elegance with the English ballad style in her herbs awaiting expression. In many an old garret, brawn and muscle. Man thought that now he About the time the first great pianist came (Thal¬ ican composer is a popular writer of songs and songs, Born near Boulogne. Barnard (Mrs. Charles). An English song writer. now bare of such stores, mints still perfume the air, might devote some time profitably to it, so it was berg in 1854) the first American pianist, Gottschalk, piano pieces. Harraden (Ethel). An English contemporary com¬ Born 1834, died 1869. Better known as “Clari- the very walls exhale the homesick smell of dry, not long before that new element, the virtuoso, started to tour the country. His main points of at¬ Clarke (Helen). An American composer of piano poser, author of an opera, and sister of Beatrice bel.” “Come Back to Erin” is her best-known forgotten herbs.” sprang into the arena; Thalberg and Liszt dazzled tack were, those art centers, the young ladies’ board¬ pieces which have proved successful. Harraden, the novelist. composition. with their heroics on the new grand pianos. About ing schools, despite the fact that he often groaned, Crawford (Rebecca). An American author who has Harrison (Annie F.). A modem English writer of Bauer (Emily Frances). An American writer on EARLY AMERICAN MUSIC. a quarter of a century later, 1823, the inventive gen¬ “How far will this virginal prayer (The Maiden’s musical subjects, journalist and correspondent. written interesting books for children on mu¬ songs and operettas. She is the composer of Prayer) pursue me?” I quote from his journal: sical topics. It was two hundred years after the landing of our ius of a Boston piano maker had outdistanced all Beach (Mrs. H. H. A.). The foremost living Ameri¬ the once popular “In the Gloaming.” “The young ladies from the boarding school (may I Curtis (Emilie Christina). An American composer Hecksher (Celeste D.). A contemporary American pious and sensible ancestors before any music but old world effort. can composer was born 1867. She is largely Originally he planned the piano principally with be permitted to confess) are the element most in¬ .self-taught in orchestration and composition, and writer of works for children. She was born composer of songs and piano pieces. psalms was heard. After the revolution the men regard to feminine use; some were fitted with mir¬ teresting and upon which my attention most wil¬ but her works in this direction show high in¬ at Boston, but lives at New York. Hensel (Ottavia). An American author of books were far too busy combing the bullets out of their rors, some with desks, others with sewing tables and lingly rests. Rockford, outside of Chicago, pos¬ spiration and great scholarship. Her “Gaelic” Curwen (Mrs. A. J.). She is of Irish birth. Born on musical topics. She has written a biography sumptuous wigs to bother about the frivolous art drawers for materials wherewith when my lady sesses three seminaries which, I think, ought to fur¬ symphony is her latest and perhaps her best in Dublin, 1845. Became interested in Tonic of Gottschalk. Born 1837; died 1897. of music. The ladies took the initiative, for we read placed her dainty fingers on the keys, such a pande¬ nish for this concert five hundred persons.” orchestral work. She has won distinction in all Sol-Fa work, and has written much that is val¬ Hensel (Fannie Cecilia, the sister of Mendelssohn). of Nellie Custis giving musicales on the successive monium of buttons, spools, scissors, that earned for With his romantic, southern temperament, Gott¬ forms of writing. Her songs are charming. uable on the subject, including “The Child Some beautiful compositions of hers have been birthdays of her distinguished stepfather (George the graceful spinet the name of “the rattle box.” schalk gives vent to many expressions and out¬ Bond (Mrs. Carrie Jacobs). An American com¬ Pianist.” published under her brother’s name, and but for Washington) at which the same few songs and Davis (Fay Simmons). American writer and “The Battle of Prague” was then the popular after bursts of admiration for his girlish audiences, for poser and writer of highly successful songs. the prejudice which existed against women en¬ pieces were repeated each year—“My Mother Bids teacher. dinner piece and though we think it needed no ad¬ their prettiness and for their ambitions. “The femi¬ Bohannan (Mrs. Ord). An American contemporary tering the field of composition, she would prob¬ Me Bind My Hair,” “Wherein You Walk,” Handel: composer of sacred music, songs and anthems. Dick (Edith A.). A contemporary English com¬ ditions to realism after that, still it had its little nine type in the United States is decidedly superior ably have come prominently into public notice. “Romping Rosy Nellie;” Sonatina, Haydn. The Briggs (Cora S.). An American composer of songs, poser whose songs have achieved considerable Hodges (Faustina Hasse). An American composer attachment to give the report of the cannon at the to that of Europe. Pretty girls are a majority in most important part of the concert seems to have sacred and secular. popularity. Her best-known song is, perhaps, who died in 1895. Her songs include the once- thrilling moment. Railroad gallops were also fav¬ American audiences, whilst in Europe they are the Brinkmann (Minna). Born at Osterwieck, Germany. “Spring is Here.” popular “Rose Bush.” been the dancing of the Virginia reel, which father orite selections, accompanied by the puffing of little exception and the desire for cultivating the mind George kept up for three hours, and then called it a steam cars, running up and down on little tracks 1831. She has written many piano pieces of a Dickson (Ellen). An English composer, born at ( This interesting series will be continued in the August issue, and and purifying the taste is an imperative necessity light character. Woolwich, 1819; died 1878. Many of her songs Pianists and Violinists will be added.) “pretty little frisk.” on top of the piano. among American women, which I have never found THE ETUDE 449 448 THE ETUDE

in so high a degree in any other race. For ten me to enjoy this loveliness all the more, because now told to raise the center of the hand till it years a whole generation of girls have played my my conscience will approve. So I warn you that assumed playing position, taking care that each pieces.” The era of the sentimental piece had set some new additions to my repertoire will be studied, finger was well curved and in good shape. I went in and for years girls sighed over “The Last Hope,” and piano technic will be practiced for so-and-so from one to another, showing what was correct in “Pastorella” and “Miserere.” long each day.” position and condition. We then proceeded to make Then the war came, the foreign pianists went They all looked at me in astonishment and in¬ simple up and down movements with each finger in home, the seminaries were closed. The southern credulity, and our lady hostess exclaimed, “Impos¬ turn. With some this proved to be difficult, but girl, surrounded by slaves, without the ambition of sible; how will you practice piano technic and new they tried to do their best. They now changed her New England sisters, satisfied as long as she pieces without an instrument?” “Ah, that is my hands and' repeated the exercises. had pretty clothes and plenty of beaux, now faced secret,” I answered; “and yet it’s no secret at all In the short time that remained, I explained the the cruel realities made by the war. When peace when you know how.” staff notation, and the lines and spaces of the treble was restored the deathknell of sickly sentimentality staff, using the extended fingers of my right hand had been sounded. It was succeeded by a more TABLE PRACTICE. for a staff. serious effort in all departments of women’s educa¬ “It’s all very simple,” I replied. “I shall use this “What*fvuai mia industrious crowd you are!” exclaimed tion. William Mason had returned from Germany, table for my technical practice, and I promise no lady hostess, appearing among us. “I see Miss a thorough musician and pianist, prepared to give one s siesta will be disturbed. My pieces shall be young Americans their first real opportunity to study music and to train them in the classics of learned mentally as I walk alone in the woods or NOTATION EXPLAINED. sit here in the shade of these vines.” Bach, Beethoven and Mozart. Conservatories were “What an ingenious idea!” said the women, and Next morning all were in their places. Several founded with great rapidity in all the large cities, other guests came to look on, and one joined our the standard of piano playing speedily advanced and even the men—some of them—looked interested, while the young people chorused, “May we look at ranks. I had sent at once for niy metronome and what would have been impossible fifty years ago is sight-reading chart, and before long the class be¬ to-day a commonplace. Numbers of women pian¬ you when you practice?” “Won’t you show us how you do it?” “Oh, yes; please do.” came quite proficient in reciting notes on treble and ists of skill, both amateur and professional, now re¬ bass staff and also those above and below. I tried side in all our large cities. Within the past twenty- It s not half so much fun to see how it’s done as to do it yourselves. If you really want to put to to cultivate the tone sense by having the class sing five years, two American pianists, Fannie Bloom- these notes with the aid of my tuning fork. field-Ziesler and Theresa Carreno, have achieved use some of the spare time you have up here. I can Perhaps the best work was done with the table world-wide fame, and a score or more of younger teach you how to play piano on a table. 'I will exercises. I taught each new one orally, by pre¬ artists have won distinction. It is not, however, start at the very beginning. If you are good play¬ cept and example. Our host had, himself, taken such with preeminence with which we are concerned! ers now it will do you no harm to review the first an interest in this early morning class that he had Every one counts among one’s friends girls who things that we seem always so anxious to get away have the taste and ability to play the classics ac¬ from. If you have never studied at all, we can do arranged a big rustic table for us out under the trees ceptably. Such is not generally the case in Europe quite a little foundation work right here at this at the side of the house, and here we usually worked, unless the day was stormy. (Great Britain excepted), where the traditions con¬ table, and you may be eager to take up the study cerning women discourage any great mental or ar¬ in earnest when you return to the city. But I shall The members of the class soon became willing to tistic effort, where “that brilliantly detestable in¬ be very strict and require punctuality at every do a little practice outside of the morning lesson. strument,” as Bernard Shaw calls it, is more of a lesson. We might have a little box arranged to They seemed to like this novel way of learning piano luxury. In America it follows in the trail of the collect fines should any one fail to appear at the technic. In my own work I was not entirely idle, woodman’s axe; there is no more strenuous man lesson, though I am sure no one will! At all events, for I memorized a Debussy Arabesque and did some than the piano agent, consequently it is found in the we can have the box, and each member of the class technic practice each day. But there was always house of the mechanic as well as in that of the mil¬ can drop a mite in, say ten cents, for each lesson. time for walks, drives and excursions over the hills. lionaire. Under these more favorable conditions I know by experience that you will take far more The three weeks came to an end before I realized the ranks of the American pianiste are constantly pleasure in the class if you pay something for what it. On the evening before my departure, the music gaining in importance. It is, however, no longer you get We will ask our hostess if she is willing class gave a demonstration of what they had learned. the custom for every girl to learn to play, irrespect¬ to have breakfast a little later, so that we can have First came a whole set of physical and breathing ive of talent. There are too many fields of activ¬ our lesson from eight to nine, before you go on exercises, which they did with evident relish and ity now open in the business, professional, and ar¬ your walks And now, if your courage holds out gHsto. Then staff reading and reciting scales and tistic world, too many opportunities for every sort for twenty-four hours, I will be ready to-morrow chords; lastly, the table exercises for finger and of education and taste for the modern girl to fritter ,t0 lnstruct YOU the ‘mysteries.’ ” her time away on things for which she has no apti¬ My little suggestion seemed to whet curiosity, and nomem°VementS’ played to the beat of the metro- tude. If she have the gift it is developed seriously urmg the day I was plied with questions by the At the close of our performance the lady hostcfes as a means of culture or in these days of rapidly young folks, and by the older ones, too, for that clapped enthusiastically. “Miss Hazel has wrought changing fortunes, as a means of support. Playing matter But, while I explained somewhat, I told the miracle after all.” at art is out of date, a worn out tradition, now hap¬ tnem to come and see for themselves. pily abandoned, to the manifest advantage of music. « , ,!Tary. ,t0 my expectations, I found quite a EDWARD GRIEG ON LISZT’S PLAYING class waiting for me next morning when I de¬ scended to the piazza. There were four girls and Ifohis admirable life of Edward Grieg, Mr H T VACATION STUDY WITHOUT A PIANO. three boys and several “grown-ups,” making about the N7r";egian’s account of a visit paid a dozen in all. I was so pleased to see so many thatif H 1 Rome- ./Mter Paying the minuet, I felt now ^ere Possible to get Liszt to play for me. BY HARRIETTS BROWER. a eilittleitL t0speech, t3klU Psaying tWS "I CWwas tWng in earnest that 1 myselfmade themand U’ Wafu e ,time; was visibly inspired. I asked [Editor’s Note.—Most teachers recognize the tact t f“aidn?t c Sbpugg"d hi\sh°«lders a little; but when the greatestt loss in AmpricinAmerican rmnaip., i .1.. ', . Imagined""6 " W°UM aCC°mpHsh more tha“ ^ leave the SouthSott. without^ hhaving*s intention heard thata single 1 should tone from three to ten ‘3* Wil\have.five brands to our string: Hearing sound counting time, reading notes, physical exercises succeed is greatly mistmistaken. Whenev ■ Possible, ‘regular ich spfole madC Unn’ and then ™ttered: S instruction should be re.... (H and table work for your fingers. well T’li 1 ule 3wolIen’ Ich bin nicht so’ ('Very effo f8 entire summer. It calls for very littlfTeitra ™ 1 IpIay whatever you like, I am not like that’f f0';, Brower tells how this can be done even regard t0 hearing, we can, with the aid of my pitch pipe, locate the tones of the scale, but you Mr. Finck notes that “Grieg e^dently did not have™!!11 teacher^ ILl™ can also learn to listen to the bird notes of robin ^zTJpTay3 dHadly Sin'He -Mmrue^in'^kFng |h«ul0f re7a^?ironda^omPratChc!CeenC^i and thrush, to the musical drip of that tiny rivulet the^ Princes^ v„! friends> including down there m the dell, to the hum and chirp of the What could be more delightful than a three grasshopper and katydid. It will be a pleasure to weeks’ outing in a big mountain lodge up in the heart of the North Woods? There the overwrought andP aassS fforo the finger exercisesthis PUre and air the and rest, ^shine. it will teacher, wearied with the cares and trials of a busy all be made so plain that you can’t help but like it season, may find peace and rest surrounded by the Do you approve of the plan?” everlasting hills. Oh, the glory, the delight, the extraordina?y restfulness of those first days among the everlast- PHYSICAL EXERCISES. ing hills! Every hour, nay, every moment seemed charged with some new and exquisite surprise, and They smiled and nodded assent. "We will begin each day with physical and breathing exercises for famous symphonic poenTfor V 5-Upp,cment to hi* I enjoyed it all to the full. The mountain lodge, Lamento e Tribnfo* TRenV^ °/chestra- ‘Tasso: with all its comfort, did not' yet boast of a piano correct breathing has a great deal to do with good So. much the better. I could forget that I had ever piano playing. So we will stand and inhale some played the thing, or taught it. but could give myself 01 this glorious mountain air, at the same time up wholly to the joy of living here among the clouds :°tyb/aTfg thVight arm “Mil it is extended Before long, however, I began to descend to earth' straight out from the shoulder (at the side) I will and to think, and to grow a bit restless. It was at count six while you hold the breath and the arm breakfast, the third morning of my stay. Our salle ou at the same time. Now exhale and drop your a manger was a wide piazza, whose rough-hewn pil¬ No’onpItae-aI?uP y’ t0 ’tS ,firSt position at y°ur side.” lars were twined with clambering vines. Our lady d th‘s correctly at first, but after a few hostess turned to me with a smile, “I see a slight m turn they began t0 «« -y shade in Miss Hazel’s usually happy eyes this morn- do::™; We then seated ourselves at the table, with each ml ” * rCgm?, ' She may be wishing for her piano becomes a proohet nrnelaim;— ... 6 Is a m?sician. he —she may even be longing for some pupils to teach.” °ne s right arm and hand resting upon it I ex- I j.°; quite so bad as that,” I laughed, “but I p,a'ned the PaftS °f the hand’ the three jo^ts for each finger; no one knew that the thumb had a fingers. He enters into the most secret * do feel that a few hours of work each day will help the mind and . UUbl secret recesses of knuckle joint just as the fingers have. They were power.” one s inmost soul with demonic

* j t AMERICAN WOMEN WHO HAVE WON FAME IN MUSIC j. j. , THE ETUDE THE ETUDE 451

have been able to secure positions in an American company. HUHOW W TOI u USEUJL THEI rriG ETUDEJ- l GALLERY*“ . on the fly sheet 0f a piece O __rw in a SCraD bool THE TIME TO COMMENCE VOICE STUDY. Prominent singers are often asked what time voice study should be commenced. It has always seemed to me that eighteen or nineteen was young re obtainable. Why American Girls Succeed in Opera back issues of THE ETUDE containing them a enough for a girl to start studying. I am aware that many have started at a much earlier age and From an Interview Secured Exclusively for The Etude with Mrs. Corinne Rider-Kelsey have been successful. If a girl is very' strong, she MAUD POWELL. may start at the age of sixteen, but there is always LILLIAN EVANS BLAUVELT. LOUISE HOMER. 1 Editor's Note.—Mrs. Rider-Kelsey Is said to have been Maud Powell was born at Per“’ the hrst singer of American birth and American training to operatic* stage was nothing more than a frame for a risk if an earlier start is made. If a younger pupil (Blaw'-velt.) Mme. Homer was born in Pittsburg, 1868, but shortly after her family nave met with a favorable reception In a European opera a few exhibitions of vocal pyrotechnics. Such were to practice only under the surveillance of an Pa., where her father was a minister. “ottse. Mrs. Itlder-Kelsey’s teachers were all American born. Lillian Blauvelt was born at New moved to Aurora. After studying In 1908 she appeared at Covent Carden, in London, with pro¬ operas as “Carmen,” “Louise” and “Madama But¬ able teacher, the risk would be lessened. It might York, March 16, 1873. She is an She first studied in Philadelphia, and with William Lewis, of Chicago, she nounced success. She Is best known, however, in America as terfly,” to say nothing of the great Wagnerian also be an excellent plan to have the child who later in Boston, where she married was taken to Leipsic, where she stud¬ an oratorio and concert soloist, and as having received the American with a long line of Ameri¬ highest salary ever paid to a church singer in New Vork music dramas, require singers with histrionic ability shows indications of having an unusually fine voice can ancestors, of Dutch origin. Her Mr. Sidney Homer, whose songs have ied under Schradieck. After graduat¬ City.] and training. In fact, it often happens nowadays visit a competent voice teacher occasionally for in¬ mother was Welsh. She began her achieved considerable success. Shortly ing at Leipsic *she went to study in that many of our most celebrated opera singers spection and examination purposes, since children career as a violinist at the age of after her marriage she went to Europe Paris, where she obtained a place in The success of the American girl as an opera have won their reputations from their acting rather frequently fall into very bad habits from their nat¬ eight, making her debut at Steinway to complete her studies, and after two Charles Dancla’s class. In 1883 she singer is seldom attributed to that quality known than their singing. ural tendency toward mimicry. The child has the years in Paris made her debut before Hall, New York. At the age of fifteen made her English debut. While in as “temperament.” Temperament, as it is under¬ Our American girls have also decided dramatic misfortune to hear execrable singing upon sortie oc¬ a select audience of musicians and she commenced studying singing at London she met Joachim, who invited stood in Europe, is quite different from what is ability. They are perhaps the most traveled young casion. He hears the audience applaud the singer critics. As a result of this she was the New York Conservatory of Music her to Berlin, where she became his understood by it in America. There it means a women in the world. Moreover, the wonderful and assumes that such singing is desirable. The she offered an engagement at Covent Gar¬ under Jacques Bouhy. She studied pupil. She made her debut in Berlin knowledge of life and art Which has been imbibed library system, as well as the popularity of the imitates the singer, and thus acquires habits that den, London, for the following sea¬ further with him in Paris, on his re¬ at one of the Philharmonic concerts at the great centers of musical and artistic inspira¬ cheap magazines, gives them an insight into life at it may take months to eradicate in after-life. son, where she made her debut as Am- turn to that city, and gained some ex¬ in 1885, rendering Bruch’s G minor tion. Here we associate temperament with vivacity first hand, and at second hand through the eyes and neris in Verdi’s “.” In September perience at miscellaneous Continental Concerto. In the same year she pro- and personal magnetism. Our American girls have pens of authors, that few young women of the Old THE FIRST STEPS. of the same year she sang at the Royal concerts. Her operatic debut took ceeded to New York, and after a bril- little opportunity to acquire temperament in the World ever acquire. Some of them hope to get the Opera “de la Monnaie,” Brussels. The Our American girls are all inclined to study at place in Brussels, September 12th, liantly successful appearance with the European sense. It is true that in our great cities dramatic experience to fit them for opera by actual 1891. Owing to ill-health she was result of her London success was an Thomas Orchestra, she toured the we have fine music and great art museums, but too rapid a rate. Slow study is absolutely essential obliged to cancel her operatic engage¬ engagement to sing at the Metropolitan States, winning golden opinions. In these are beyond the reach of many of our Ameri¬ at the start. Many singing teachers sacrifice a pu¬ ments and return to America. She Opera in New York, where she has 1892 she toured Germany and Austria can girls who at the same time seem to be gifted pil’s future just to make a showing with a few bril¬ subsequently concertized throughout now sung for seven successive seasons. as the representative American vio- with phenomenally excellent natural voices. Just liant songs. Some do not hold themselves responsi¬ She affords a noticeable example of the States and Canada, under various linist with the New York Arion So¬ why they should possess such voices I certainly ble for this, as they contend that the parents of the the fact that motherhood need be no prominent conductors, and she went ciety, under the baton of Mr. Van der shall not attempt to state. The fact is they have pupils demand such a showing. The first exercises bar to success. She and her husband on tour with the Damrosch Orchestra Stucken. She also appeared in this this wonderful gift, and that perhaps is the chief should be of the simplest possible character, as are an exceptionally devoted couple, in 1893. In 1898 she went to Italy to capacity at the World’s Fair in Chi¬ reason that in a very large number of the leading much depends upon the pupil’s ability to compre¬ and the famous twins are. healthy evi¬ study the language, and subsequently cago. In 1894 she organized the Maud opera houses in Europe during the past ten years hend an exercise. If the pupil does not have the dence of the happiness which has fallen appeared in Verdi’s “Requiem” at the most applauded prime donne have been of right intellectual grasp of the exercise, success is to the great singer’s lot. Her reper¬ Powell String Quartet, with which she Rome, taking the place of the; soprano toured through the United States. American birth. not likely to be forthcoming. I have known teach¬ toire includes many of the Wagner soloist, who was suddenly taken ill. From that time on she has been busy The American girl may secure her musical and ers to spend three years in giving exercises. Un¬ operas, in which she sings with re¬ Mme. Blauvelt acquitted herself excel¬ vocal training in America, and then if she has the questionably the greatest waste in vocal training to¬ markable dramatic force. She has also touring the United States and Europe, lently. She was commanded to sing be¬ everywhere earning the highest praise. good fortune to travel she seems to accumulate day comes from the fact that many teachers are men sung in oratorio, in which she has fore Queen Margherita at the Quirinal and women who have failed as singers, and who feel shown that it is possible for a singer Maud Powell is a born artist and her temperament at a most astonishing rate. This, to¬ during the visit. Her next appearance gether with her fine voice and a rational American that it is an easy matter to become a teacher. The to be successful alike in opera and in playing exhibits a firmness, breadth of was in Munich, the same year, after training, equips her to compete with the great real teacher requires years of study and preparation. the concert room. She has a voice of style and finish of technic that easily which she appeared in London at the place her among the' foremost ranks singers of the other countries of the world. He must be methodical, but must have such a va¬ Queen’s Hall. She appeared in opera great pQwer, and her notes ring true in the upper register and have great of living violinists. She is undoubt¬ riety of means at hand so that he can find at once at Covent Garden for the first time edly the foremost living woman vio- HER NATURAL APTITUDE. the best remedy for all sorts and conditions of vocal in 1903, and acquitted herself with fullness and richness in the lower tones. troubles. He must be able to substantiate his prom¬ great success. (The Elude Qallen'') The American girl has remarkable natural apt¬ ises with real results—that is, by producing pupils itude. Like her big brother she can adapt herself to new conditions of life in a manner quite surpris¬ who can sing. Avoid the teacher of great preten¬ ing to Europeans. She is normally reserved, quiet sions who is unable to point to a successful pupil. JULIA RIVE-KING. It frequently happens that a magnetic personality LILLIAN NORDICA. and sensible. Judged by her home and social sur¬ GERALDINE FARRAR. i Julia Rive was born on October roundings it would seem that she should be far better has attracted many pupils to teachers who have lit¬ Mme. Nordica (.nee Norton) was Geraldine Farrar was born at Mel¬ 31, 1857, at Cincinnati, Ohio. Her adapted to the concert and oratorio stage than to tle real ability. They talk in such a manner that born May 12, 1859, at Farmington, Me. rose, Mass., 1880. She is the daughter mother was a well-known teacher, opera. In opera her mode of living must be entirely people are convinced of their ability, but in voice She studied singing under John O’Niel, of Sidney Farrar, a well-known base-ball and was responsible for the early edu¬ training, as in everything else, it is not talk that New England Conservatory, Boston. changed. She soon, however, becomes perfectly at player. Her teachers were Emma cation of her daughter, who appeared ease before the footlights, notwithstanding her counts. Talking and advertising make a certain kind After singing in church work, she went Thursby and Lilli Lehmann. She mad^ in public for the first time in her eighth of publicity, but if this publicity can not be sup¬ on an extended concert tour through¬ Puritan ancestry or a narrow education. Those her operatic debut at the Royal Opera, year. Soon after she became a pupil ported with real achievement the teacher rarely has out the country. In 1878 she went to who have experienced both lines of musical Berlin, during her nineteenth year, of Dr. William Mason and other emi¬ enduring success. The unfortunate part is that as London with Gilmour’s Band. She occupation have no hesitation in saying that the playing Marguerite in Gounod’s soon as one charlatan has been exposed there is then went to Milan, where she studied nent teachers in New York. At the concert and oratorio field demands a finer musical “Faust.” In 1906 she made her debut age of fifteen she was taken to Europe training han that expected of operatic singers. Mrs. Corinne Rider-Kelsey. usually another to take his place, and thus the mu¬ under Sangiovanni, and in 1879 made sical public is continually exposed to deception and her debut in opera, under the name of at the Metropolitan Opera House to complete her training, and studied There are delicate differentiations of tonal and rhyth¬ work upon the stage. They join the chorus of some fraud. There are, however, many excellent teach¬ Nordica, at Brescia, as Violetta in in New York, which she under¬ under Reinecke at Leipsic. She also mic interpretation that are lost in the great opera ers, ^and it is not difficult to locate them by their “Traviata.” She then proceeded to took the role_ of Juliette in Gounod’s studied in Dresden, under Blassmann house, but which are imperative in the recital. touring company and in some rare cases they have Germany, where she sang in various “Romeo et-JttHette.” She made a great and Rischpister Under the direction Nevertheless, the glamour of the stage which accom¬ succeeded. In most cases they always stay in the cities. In 1881 she was engaged to ; success andYhas, since that time, been of Reinecke she made her debut at the panies opera often induces some of our young chorus, hoping and dreaming of the glorious future a favorite with American opera-goers. THE AMERICAN GIRL’S SUCCESS DUE TO AMERICAN * sing in opera at St. Petersburg. In j | age of seventeen and created a furore American singers who might be very successful in that never comes. Those who want to “begin at the 1882 she married Mr. Frederic A. : s Her most famous role is that of “Ma¬ at her initial performance. A contem¬ oratorio to forsake everything else for opera. TEACHERS. dame Butterfly,” and her portrayal of bottom” in this way must have a wonderful amount Gower, and foi; a time retired from : 2 plated European tour had to be aban¬ The success of the American girl has in part un¬ the unhappy heroine in Puccini’s mas¬ doned on account of the death of her of stamina. They usually have to wade through a public life. A short time afterwards ; " SPECIAL DRAMATIC STUDY. doubtedly been due to her American teachers. The terpiece has never failed to make a father, and she returned to America. deep and long dramatic mire that could have been her husband was killed in a balloon • 0 The young aspirant for operatic honors should American seems to be a born teacher. He has the great impression upon her audiences. In 1873 she appeared in public at Cin¬ avoided by securing an adequate training in some accident, and she resumed her musical j 2 secure a special course in dramatic study if possible. faculty for making things clear to his pupils and She has also made occasional appear¬ cinnati, and shortly afterwards at a good dramatic school. The managers are unfortu¬ career at Boston in 1885. She next £ There are some excellent schools in America and the practical element in his character leads him to ances on the concert stage, but owing Philharmonic concert in New York nately loath to give big parts to the singer they have went on tour with Mapleson through¬ the graduates of these schools have a knowledge of strike directly for essentials and not to waste time to the fact of her being under contract (1875). Her reputation rapidly in¬ always thought of as a chorus girl. In Europe the out America and the English provinces. acting and stagecraft that frequently secures them over non-essentials. Of course, there are a great In 1887 she made her debut at Covent to appear both at the Metropolitan in creased, and she became, as she still conditions are slightly different. There, as I have positions in representative American companies. many excellent teachers • abroad, but it not infre¬ Garden in the part of Violetta, and at New York and at the Royal Opera in is, one of the foremost woman pianists said, our girls have won out by their fine voices and It is a mistake to suppose that a working knowledge quently happens that the European teacher gets the once achieved a great success. Until Berlin she has naturally little time for in America. Her career has been a excellent tone production. But they have had to of acting can be acquired by intuition in a compara¬ credit for training that has been nine-tenths Ameri- 1893 she sang every season at Covent recital work. Few more gratifying in¬ long succession of triumphs from the work for success, and any girl with a good voice tively short experience before the footlights. The Garden, which was then under the stances of the success American girls Atlantic to the Pacific. In 1876 she who thinks that she can go abroad and drop into a can. Girls go abroad to study things that could be matters of exits, crosses, etc., and other little tech¬ management of Sir Augustus Harris. are achieving at the present time married Mr. King in Milwaukee, and fine position, in a European opera house without learned at home, at far less expense and amid sur¬ nicalities, are stage conventions which embrace but In 1894 she sang in “Lohengrin” at occur to one. Miss Farrar possesses from that time on she has used the having had previous experience is greatly mistaken. roundings vastly more congenial and beneficial. The an insignificant fraction of the art of acting. They Bayr.euth. Later she again appeared in a beautiful voice, and has high histri¬ name of Rive-King. Her repertoire is Moreover, the managers are loath to give big parts girl who studies abroad and who has not abundant in themselves must be mastered in a manner which London, singing in concerts and at onic abilities, and she has well merited said to be very great: rivaling that of to singers who have not acquired a big European Hinds is placed m a very undesirable position. Un¬ will remove all suggestion of artificiality, but the Covent Garden, adding to her Wagner¬ the success which has come to her so Rubinstein and von Billow. She has reputation. It is practically impossible to jump less her mind is free from cafe she is not in proper real art of acting embodies laws of interpretation ian repertoire. Mme. Nordica is one early in life. It will be interesting to also established a reputation as a com¬ from the chorus to an important part, no matter condition to pursue her studies. If she is contin- of the few singers who excel alike in note Miss Farrar’s future development poser of charming piano pieces, of which are as comprehensive as the universe and as uaHy wondering where the next money is coming broad as mankind. The student in the dramatic how pronounced one’s ability or how excellent the both dramatic and florid singing. which “On Blooming Meadows” is a voice. It has been very gratifying, however, to see from and when it will come, she will find it almost great favorite.

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THE CIRCUS Youbethemonkey and I’ll be the clown SUMMER IDYL Two little children were playing one day, It,s the very best circus of any town ISw. Soft 8'&4' Flute,with Oboe PIPE ORGAN “What shall we do?’’asked dear little May. Tlist then their mother called, “come children dear Ch.Dulciana 8 Registration: “We’ve played all we know from “travel” to“school’’ There’s Teddy Bear sober and Bunny White too Jus-then thei here.. Gt. Flute 8 (Solo) Now think something good. Let’s make a rule Your doll can ride fine m my worn out oldshoe Dinner y Ped. Bourdon 16' E.G. ROTHLEDER Here’s Noah and his family to lead the parade, , , did run To play what the other thinks at a guess. Then Pussy and Fido for they’re not afraid. T^iniXthe game that they had begun. You be “it” first and I’ll surely say yes. They had jots of fun and played until dark, So little Jack thought of a circus quick Aad thouffht it more fun than play in the park. “We’ll have a parade and a funny trick.

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ft THE ETUDE 477' 476 THE ETUDE VILLANELLE With the Swallow

English words by Constance Bache EVA DELL’ AC QUA

CODA

* w THE ETUDE THE ETUDE 479 DOLORES SPANISH BALLAD GEORGE LOWELL TRACY Word* by G.L.T. Bolero

t) v* shade A i naid-en dreams the h tour: s a - way, And lis - tens to the ser- e - nade That

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air Her maid-enjov is all com-plete, His voice a-lone speaks to her there!

Refrain a tempo with marked rhythm

lo - res! Do - ■ lo . res! ’Tis thee a-lone I love the best, Do.-lo - res! Do- lo - res! In

9--*- . # 9- 9- 9 Ej * J = 4--4"T~T * J ;' *■ J - THE ETUDE THE ETUDE 481 480 in which God and Nature intended and ali strain is ruinous in the end. them to, but in the way that someone Sustained tones should be practiced SLUMBER SONG has told them. softly at first, and then they may be HERBERT RANDALL GRACE MAYHEW The thing that really thrills an audi¬ gradually sung with increasing force. ence, that goes up and down their This may be followed with the cres¬ Department for Singers vertebrae, that makes them respond cendo and diminuendo until the singer with unanimous applause, is the bond has her voice under such control that of musical sympathy which the singer she may start with a mere thread of a Edited for July with the assistance of MME. LILLIAN BLAUVELT must invariably arouse to reach great tone and expand it to one of consider¬ success. It is the soul of the singer— able volume. This, of course, requires that wonderful something which will practice in itself, and all practice must hension of her natural tone after much leave the body after dissolution. of necessity be more or less mechanical. self-investigation, deep thought and Mental and physical endeavor will not experiment. avail; it is that intangible substance Therefore, we should never forget the Imitation is sometimes of assistance which keeps us alive and which reaches words of Jenny Lind: “Singing is as in discovering the means by which the out to the audience and makes them much moral and mental as it is me¬ chanical. It is a combination of those Lillian Blauvelt, together with a portrait, tone may be delivered with the most one with you. When a beautiful soul will be found in the "Gallery of Celebrated ease and effect, but imitation is not expresses itself through a beautiful qualities which alone can form the Musicians’' for this month. We are sure that all of our readers will appreciate the always to be desired. Some years ago voice, no audience can withstand the master and the pupil.” assistance of so eminent an artist, in this a noted English singer and the author charm. Better the singer with soul It should be remembered that Jenny special issue devoted to “Woman’s Work in Music." Mme. Blauvelt's great success in of a treatise upon singing asked me to and a beautiful, natural, individual Lind was faultily taught at the begin¬ Europe has given American audiences but imitate his methods. I realized at once voice than all the technique, execution ning, and when she went to Garcia, limited opportunities to hear her in recent years. She has toured in most of the great that while they might be successful and “interpretation” in the world. We in Paris, in 1841, he told her that it European countries, and has met with ova¬ with him they would certainly not be tions everywhere. In Rome, the Order of St. must study art to know how, but only was useless to try to do anything with Cecilia was conferred upon her. Only eight her, as she had lost her voice. She persons have been thus distinguished, and Mme. Blauvelt is the only woman and the begged for a trial, and he consented, only English-speaking artist to receive the provided she would agree to refrain from singing or speaking for six weeks. This she did, and surely after such a The first consideration of every period of enforced silence a woman singer should be the' quality of the should deserve all the success that was tone. Execution, technique and inter¬ hers in after-life. However, while she pretation are all vital matters, but with¬ was not singing or speaking, she was out tone only the greatest of inter¬ studying French and Italian, as she preters and singing actors can succeed. knew that she would require these lan¬ We frequently have our attention called guages in later life. When she com¬ to singers who have voices that, in menced her work again with Garcia themselves, are not particularly great. she describes his methods in her own Sometimes by dint of much work and words thus: natural histrionic ability they can ac¬ “I have already had five lessons quire methods of conveying their from Signor Garcia, the brother of thoughts to their audiences in such a Mme. Malibran. I have to begin again way that their vocal deficiencies are forgiven. Sometimes, through the force from the beginning to sing scales up of their mentality or through what has and down, slowly with great care, then always seemed to me as nothing more to practice the shake awfully slowly than hypnotism, these singers sway and to try to get rid of the. hoarseness great audiences in a most remarkable if possible. Moreover, he is very par¬ manner. ticular about the breathing. I trust L The singer with a beautiful tone but have made a very happy choice.” without temperament, mentality and Jenny Lind always recognized Gar¬ artistic finish is always an aggravation. cia’s great ability, but in a later letter You hear the dulcet notes coming from she writes in a manner corroborating a soulless body, and while they are all that I have said about self-investi¬ pleasing, like the tones of a beautiful gation and personal experiment: flute, you at all times have the distinct “The greater part of what I can do- feeling that the singer is not bringing in my art I have myself acquired by forth the best in the human voice. incredible labor, in spite of astonishing The artist who can combine tech¬ nique, flexibility and mentality with her difficulties. By Garcia alone have I singing must of necessity be the great¬ been taught some few important est artist, Such an artist was Jenny things. God had so plainly indicated Lind, to whom I shall have occasion within me what I had to study; my to refer later. She has been my ideal ideal was and is so high, that. I could during my entire musical life, and I find no mortal who could in the least continually study her writings. Apart satisfy my demands. Therefore, I from her wonderful natural ability as a sing after no one’s method—only, as.-, singer, she had the art of expressing far as I am able, after that of the herself with an individuality which birds; for their Master was the only- amounted to genius. I shall quote from one who came up to my demands for- her to some extent. truth, clearness and expression.” What a remarkable definition of the- requirements of the singer! Perhaps-, One of the most desirable attributes it was thoughts like these which led of a good tone is individuality. If the the public to call feet a, “»ightingale.’” tone is not individual, it is rarely good. JENNY LIND 1 T THE PIANO. By individual I mean that every singer PITCH AND CORRECT INTONATION. has a tone unto himself. It is as charac¬ teristic of her as are her features. As successful with me. He has been too often this very so-called art simply I often think that what the public: soon as she attempts to imitate some obliged to discontinue his work, and a means a collection of unnatural and describes as a “musical” voice is noth¬ other tone she distorts her natural tone. mistake in his conception of tone pro¬ artificial encumbrances which retard ing more than that of the singer who- The peculiarities of mouth and throat duction has cost the public one of its the singer in the fulfillment of the sings with correct pitch. It is unfor¬ formation which she possesses are best artists. ideal. tunate but true that very few singers, identical with those of no other singer. No amount of imitation could ever sing at all times exactly on the key. The most she can do is to develop her make a robin sing like a nightingale, SUSTAINED TONES. Instead of striking the tone directly natural tone to its fullest extent. The because the robin was never intended From the art side, the first consider¬ in the heart, as it were, they seem to. wise singing teacher often discovers to sing like a nightingale. The song ation is that of learning to acquire and hit around it. that the tone that a pupil is employing of both is beautiful, but individual. In¬ sustain a good tone in what might be Every tone- has a heart. That is;, is not the natural but an affected tone, vestigate ceaselessly to find out the real termed an even vocal stream. The there is one vibration, at which the brought about by environment or imir truth about your voice. This was what tation. It then becomes the teacher’s regulation and adjustment of the breath tone is rights,. Let. us say that the midh Patti did in her girlhood, and her voice has much to do with this. It is wrong die A is given a vibration: of 435 dbur- duty to restore the natural quality. has lasted for a phenomenal length of for the young singer to attempt to sus¬ ble “swaying-s”' to a second!. If one- SomeUmes the teacher never does this, time. Most singers lose their voices tain tones too long at the outset. should sing, this tone at* 430 or 432: and the pupil only acquires a compre- because they sing not in the manner Long-sustained tones impose a strain, the difference might be slight, and. one. THE ETUDE 483 482 THE ETUDE long while I could not look up But, be devoted to an institution for educat- to detect her taking a breath. It i A BRIGHTER OUTLOOK. sometimes more, while there has also MAKE A THOROUGH STUDY OF after a considerable pause, I asked. Do ing poor children who, while especially also stated that her diminuendo was s been an improvement in the quality as that few people would recognize, but strong the vocal apparatus really is. MUSIC. you really think so?’ with a feeling of endowed for the stage, lack the perfect that “it died 1 regards fullness and clearness of sound. they would note a general difference In most cases the voice is horribly I have mentioned the benefits that I pride which my look, even the look of of parents or relatives, without which, perceptible point, so completely t In no instance have there been any bad in the singing and would be very abused throughout life. It must be The outlook for American singers have derived from the study of the my back, must surely have reflected. 1 a moral and artistic respect, they ering the end of the note that after-effects. Dr. Lennox Browne, one likely to say that the singer was sing¬ tough indeed to have withstood the with capacity for is violin. Unfortunately I was unable to God help me! I am so proud that I either lose or else fail to reach the could detect the moment at which it of the leading English throat special¬ ing unmusically or that the voice was monstrous vocal methods I have growing brighter. The success of the heard practiced in some cases. How¬ give similar study to the piano. My cannot bear people to say I ‘imitate. higher development for which their faded into silence.” Savage Grand Opera enterprises gave ists, a surgeon who has had profes¬ not musical. teacher in Paris, M. Bouhy, for some gifts would give reasonable hopes. sional relations with many of the great Students cannot give too much at¬ ever, continual colds and malusage of I loathe the very word to such an ex¬ She was very particular about the an impetus to operatic undertakings the throat bring their punishment in unknown reason, objected to my tak tent that I cannot conceive what its trill, and in order that it might not re¬ this country, and to the recognition singers, says that a large number of tention to the matter of pitch. Some¬ these, including Madame Patti, have time, and when the voice is once gone ing up the study of the piano as a side inventor was thinking of. It seems to JENNY LIND’S PHENOMENAL VOICE. sult in the wobble, really nothing more of American vocal talent. Of late times the physical conditions of the undergone the operation with comfort it is extremely difficult to restore. study. He doubtless wanted me to me that to take what is another’s and Although most readers of the present than a bad tremolo, she used the fol- years American singers, some of them throat and nasal passages caused by a to themselves, and with the result of Beautiful voices are like roses in concentrate my attention upon voice day will think of Jenny Lind’s voice lowing exercise, which is taken from trained wholly in this country, have cold or by fleshy growths, such . as use it for one’s self, and then to make increasing the range of voice. He fur¬ June, here for a little while and then study. However, I have always felt a manuscript by the great singer: invaded the leading opera houses of adenoids, will cause the singer to sing believe that it is one’s own, is posi¬ as that of the coloratura soprano, it is ther says: “The operation has probably forever departed. Perhaps we should the necessity for pianoforte so keenly Europe, and won genuine success there. ■'‘off the key.” Similarly any unnatural tively to steal. But I see so quickly a fact revealed by history that her had the effect of bracing the mucous be grateful for the modern means of that during the last six months I have the impression of what is good or bad voice was not naturally flexible and More recently Mr. Hammerstein has tightening of the tongue or muscles taken up the study of the instrument membrane of the pillars of the throat. preserving voices through sound-re¬ that I should not feel surprised if I that the flexibility was only produced arisen to show that another shrewd of the larynx may lead to bad intona¬ myself. It opens up wide vistas for This is certainly the result of nipping cording and reproducing machines. have caught something from the Ital¬ after the greatest effort. Her normal manager appreciates the voices and tion. A bad administration of the What would it mean to us to-day to harmonic understanding and enables talent of the singers of this country. a relaxed uvula; the arch of the palate breath may lead to a like result. In ian opera, which I have already visited range was from the B below the treble is at once strengthened, and I have hear just how Mario, Malibran or the voice students to comprehend the pretty frequently, but, be this as it Now we have Mr. Henry Russell, most cases, however, singing with un¬ staff to the second G above the treble frequently noted not only that lost Jenny Lind sang. T believe that entire scope of an important work at may, the reminiscences I am carrying once a teacher of singing, later an certain pitch is due to carelessness in staff—two octaves and five notes. notes and tone have been regained records of the voices of great singers first hand. Of course, I have always away from the Italian opera here are operatic impresario in Europe and this failing to listen to the tones acutely of our own time will become rare in played piano to a certain extent, but While her fioratura singing is de¬ country, and now musical director of thereby, but that there appears actually’ much better than those connected with scribed as being so beautiful that to have been an increase in vocal enough. the future and that these records will I have never studied the instrument ctnrMinlm and the school and style the new Boston Grand Opera House, Personally I found the violin of therefore be highly valued and prized seriously until now. I have always de¬ words are wanting to tell how remark¬ coming out strongly in favor of engag¬ range.” _ ; Immense help to me in establishing a as family heirlooms along with choice sired to improve continually and this able it really was, it was the wonder¬ ing singers irrespective of their having HOPE FOR THE VOICELESS. ■correct idea of intonation. Up to my paintings and the family plate as evi¬ is simply a part of my regular daily MENDELSSOHN TO JENNY LIND. ful sweetness of the voice itself that had engagements in Europe. In a re¬ fifteenth year my parents desired to dences of the culture of one’s an¬ study which will continue as long as made her greatest fame. One writer cently published interview with a news¬ Upon what do you base your opinion have me become a virtuoso violinist and cestors. I am before the public. The bond of friendship between states that she had “all the volume and paper reporter, Mr. Russell said: that you have no voice? Is it because Jenny Lind and Felix Mendelssohn I studied and played a great deal upon In studying the roles of important sonority of the true soprano dramat- T , , . . , . “American girls have been going to the voice does not sound musically in was very cordial and he wrote her the instrument. This taught me the COLD AND LIFELESS VOICES. works I have avoided voice fatigue by ico, with the lightness and flexibility fr the w.hole notes left Europe for musical finish and success. speaking or singing? many lengthy letters upon business necessity for striking right into the The singer with the cold or lifeless playing the soprano parts upon the peculiar to the more ductile and airy and the exerclse appeared thus: They have found in Paris and Berlin Granted that it does not, that is still and artistic matters. The following is heart of the tone. “Singing off the voice rarely succeeds. The voice of piano with my accompanist in duet soprano sfogato.” and Milan that there was jealousy no proof that the voice does not exist. interesting, as it reveals that he prob¬ key” is extremely annoying to me and even the dramatic singer performing fashion. I rarely sing a new role until Meyerbeer described her singing, in there. In many cases they have come Perhaps there is some obstacle, in the heaviest Wagnerian roles must I feel that I have mastered the time, ably had her in mind for an opera for a letter to her, thus: back with empty pockets. placed there by yourself, which pre¬ I find it difficult to sing with singers which it was his misfortune never to who are unfortunately guilty of this possess elasticity and flexibility to ap¬ rhythm and notes. This I find also “What remains for your friends to “It may be a great thing for an vents its natural resonance from being contributes to accuracy and confi¬ secure a satisfying libretto: fault. Some never can correct it. peal to the public. There is a reason. wish for you whom Heaven has so American singer to make a European realize^. For example, in the matter of dence. The amount of study required “You will certainly meet with such a breath control; any of the following Years ago, when I was studying with for scales and exercises like those of richly endowed? It has given you reputation, but let him or her first see to master a new role is far greater reception in England that you will be habits, common enough even among •the great dramatic soprano, Mme. Concone and Bordogni entirely apart that great and sympathetic voice what he or she can do in this country. from the commonly accepted idea than many people imagine. able to think of it with pleasure which charms and moves all hearts; “I am not going to wait for Ameri¬ singers, will not only mar, or lessen, Fursch-Madi, she told me of a girl that they are solely preparatory exer¬ No matter how great the artist or throughout the whole of your future the fire of genius which pervades your can singers to go abroad and get a but perhaps entirely efface the musical with a marvelous voice who had failed Modern teachers would doubtless cises for coloratura or fioratura how extensively she has .appeared be¬ life. When the English once entertain singing and your acting; and, in fine, quality of the voice. •dismally because she could not keep gradually incr'ea'se" the"t‘emproT'the ™?re iS an Presusion singing. It should be remembered that fore audiences, she can only maintain a personal liking for anyone, I believe those indelible graces which modesty •on the key or rather sing with accurate that no people are more friendly, more exercisepxprcisf with the of the metro- -that 1 - p.ay ™ore lf they have many of our greatest Wagnerian so¬ her position by ceaseless study. To and candor and innocence give only to nome. been to Paris or Berlin. ’ Intonation. pranos have been coloratura singers in use the voice- for more • than a small cordial or more constant; and such a their favored ones and which bring “But the policy of the Boston Grand The slightest difference in pitch be¬ feeling you will find there. . . . Mr. Starting with the interval of the fifth THEORY OF INTERPRETATION their younger days. Depth and portion of the time would be disad¬ every enemy into subjection.” Opera Company will not be to depend By A. J. GOODRICH comes perceptible to the singer. breadth of tone come with age. vantageous, consequently the piano is Lundy, also in the kindest man¬ Hans Christian Andersen, the Scan¬ and with the accent upon the upper any European success. I don’ If a singer desires to retain the of immense value to the singer. It is ner, proposed that I should compose dinavian author and writer of fairy note of the trill, and then gradually if "a singer says to me: ‘Oh, Mr. Rus- IMPROVING THE QUALITY. brightness and vitality of a youthful far better to work out the problems an opera for him, and I could only tales, tells the following story ofx « diminishing the interval, the trill may sell, I’ve made such a splendid success It is almost always possible to im¬ color in the voice, the sparkle and the of a new work tjrieself than to have answer that on the self-same day on poor poet whom he found the be developed in such a manner that abroad.’ prove the quality of the tone. At first wine that invigorates and stimulates, it done by someone else. First secure which I succeeded in getting a good streets- of- Berlin-.. and took.. into his a11 . suggestion of the tremolo is “American singers will not have to the student will find that her difficulty the exercises. for flexibility should be a good tone, then flexibility and execu¬ libretto on a good subject I would be¬ home. After Andersen had provided avoided. The difficulty in intonation go abroad to obtain recognition. They lies in the matter of keeping the constantly practiced. It is also an tion, and-then consider the^ interpre¬ gin to write the music and that in for the material needs of the unfortu- ln ^ tr'.b *s *n. str'king the upper note must not think they will be paid more In studying language we nowkno’w’thaMt^Tbest tcTgiTau muscles of the throat and mouth suf¬ , excellent idea to practice upon the tative side from the intellectual and doing so I should be fulfilling my nate man he sought to encourage him on tae Hght pitch. When the trill is if they have the seal of European ap- spiritual standpoints. ficiently relaxed. The knack of plac¬ vowel “u,” as in the French word greatest wish. He hopes to be able to by giving him a ticket for Jenny sung the accent generally falls upon proval. Rather, if they can sing, they secure such a libretto and has taken ing the tones in (“from out the . “Etude” ' or in the German word Lind’s concert. the l°wer or principal note, but when will be paid more if they come here “Briider.” This vowel is somewhat steps with regard to it.” mask,” as the French call it), is one “I asked him, therefore, whether I the above exercise has been faithfully first.” difficult to acquire. It is really a mixt¬ which is difficult to acquire. This the LESSONS FROM THE LIFE OF ■might venture to invite him to hear Pract;ced it is an easy manner to sing ure of e and u. If you will shape your HER GREAT GENEROSITY. teacher must explain and illustrate. JENNY LIND. Jenny Lind. ‘I have already heard the tri11 with the accent in the proper mouth as if you were going to pro-' her,’ he said, smiling. ‘I could not P^ace- It is a well-known fact that in smiling [The following have been taken, at the Jenny Lind’s great charity and gen¬ nounce “U” and then hold it lightly in afford to buy a ticket, so I went to the - the voice becomes brighter and seems suggestion of Mme. Blauvelt, from various erosity is one of the most noble traits that position while you say “ee” the authentic articles and letters of Jenny Lind, in her remarkable career. In her na¬ to be placed more forward. Jenny “the Swedish Nightingale,’’ whose wonderful tone will approximate that desired, tive land she insisted upon devoting XiSi.’S™;',o“Pr,„p“1 super¬d H0W SMOE^o|H ULD begin Lind always insisted that the singer voice and art created one of the most ex¬ 0 but you should hear it repeatedly pro¬ traordinary furores ever known in the history practically all of the receipts of her numerary performer in “Norma.” A quite common affection of the must, above all things, “look pleas¬ of song. Jenny Lind was bom October 6, nounced by a native Frenchman in 1820, at Stockholm, and died at Malvern, concerts to the support of the unfor¬ To this he agreed. So I was dressed - throat among singers is the enlarge- ant,” and that in this way the tone order to hear it correctly. If not over¬ England, in 1887. She sang in America in tunate. She insisted that she had been up as a Roman soldier, with a long ellen beach yaw. ment of the tonsils. These masses of would be improved. She was also op¬ 1850-52. In Boston, she married Otto Gold¬ used this vowel seems to have a cor¬ schmidt, a composer and conductor of ability, a “child of the State” and that it was sword at my side, and in that guise ;-<—• cheesy matter sometimes swell until posed to the grimaces that singers rective effect for dull or heavy voices. who was her accompanist at her concerts. appeared upon the stage; and I heard ‘To those girls who really in their they Pr°iect almost to the middle line. From 1883-86 she was professor of singing her duty to further the cause of the were wont to make. In smiling the It seems to throw the tone higher and at the Royal College of Singing in London. education of unfortunate children in her better than anyone else, for I stood hearts have the ambition to become and creat.e difficultY in respiration, to muscles are all loosened and the upper more forward in its passage outward. The picture of Jenny Lind, printed with this the country of her birth. close beside her. Ah! how she sang public singers, I would like to say a Say, n°thlng of seriously interfering lip is elevated a trifle. Of course, the department, was loaned by Mme. Blauvelt. In a letter written in 1848 to a dis¬ and how she acted! I could not stand few words of advice and encourage- Wltl1 pro^uct^0n full, clear student must avoid anything ap¬ THE OBNOXIOUS TREMOLO. of autographed photographs of famous people, tinguished citizen of Sweden she says-. it, it made me weep; but they were ment. Do not try to begin at the., t0ne‘ ..*“cj' .y die likely to become the proaching a broad smile. most of whom she has known personally.— In America the tremolo is gradually Editor or The Etude.] “My most ardent wish is to be al¬ furious at that. The manager forbade with only * ' ‘i 1 e,.°P seat of infection, and thus cause seri- NEW MALE QUARTETS. Octavo superficial understanding ous trouble Indian Lullaby .... Heyser 10c passing and it is to be hoped that in lowed to be of some lasting use to it and would never permit REALLY BEAUTIFUL NATURAL VOICE IMITATION IN SINGING. ,u',“u understanding at all. Plan your There is,' in the minds of some, a Tomorrow ,he Sun Will Shine Adams JOc future years we shall hear but little of native art. To offer some kind of foot upon the stage again—for one When Twilight Shadows Fall Rowels 10c IS RARE. house, get your material together, be- prejudice against the removal of en- it. In fact, in many cases it has been It may be inferred from the follow¬ souvenir, more permanent than the must not weep upon the stage.’ ” fore you attempt to build it. Then larged tonsils. The argument is made The gift of a beautiful voice is a . so bad that it has almost amounted to ing that Jenny Lind was opposed to quickly passing moments of my appear¬ While this is an excellent indication precious one. Few possess it and yet what might >be called a trill. It is to imitation in singing. The following is ances on the boards; and to prepare for of- .Jenny Lind’s power over her -uulaudi-_ begm wlth.thc foundation, that is, get that they are a part of the human many of those who do possess excel¬ be remedied first by breath control part of a letter written to Mme. Lind- my countrymen enjoyments of the tors, the spectacle of a Roman soldier y°“r V°ICe lnt? ru"nlng order and Pre‘ body> and must be there for a purpose, NEW WOMEN’S QUARTETS. Octavo lent voices do not take the pains to and then by mind, control. After the blad in 1841, when the singer was still loftier kind for the years to come, in tears must have been very amusing, ^ a repertoire of songs. I mean pre- and some sort of injury may be suf- Merriest Girls of All - . Adams l0c develop themselves so that the voice Sweet Twdight . . . Heyser 10c teacher is assured-that the pupil pos¬ studying in Paris: when my own efforts shall . have and we can hardly blame the manage- and .st“dy them to see fered lf they are removed. Others fear The Runaway Goosie (trio) - Heyser ]0c may be of the greatest service. The sesses a steady, even'flow of breath a “You must know that I am begin¬ ceased. I hope to do this by laying t of the opera house.1- taat no httle point is left out. When a change for the worse in the voice- Hear the Stream et’s Song (trio) Adam' they have become a part of yourself quality. And Others. Send for Lisl. 10c mere possession of a beautiful voice tremolo may sometimes be cured by ning to be an ape—a fact of which I the foundation of a college where means nothing. The great singer is having the pupil speak the word to be was not aware until yesterday. I was young minds may be consecrated to IDEAS ON VOICE TRAINING. you will be able to impress your audi- Experience with pupils who have ; to be praised for whatever she may sung and then calling the pupil’s at¬ singing to Mile, du Puget and she both art and virtue. ence and your success is assured. Be- suffered with enlarged tonsils and have "M^cgEirosicHpusE have accomplished with her voice and The efficacy of Jenny Lind’s “meth¬ 41-43 Bible House, N.’ Y. tention to the fact that a tremolo is seemed a little bit surprised when just “Having been myself, in childhood, sides, if you are inclined to be nervous, had them removed has shown a uni- not for the mere gift of the voice od” was shown by the great en- unnecessary in speech and may be once or. twice I displayed all my a witness of the privations and trials ?rfatly to ,kn°w formly favorable result from the op- itself. avoided in singing if the pupil only powers—you know what I mean—and through which the young and needy 1“™“ °f )jer v.°ic.e’ ^side from her that you have an understanding of what eration, as regards voice and health We continually hear the voice de¬ pronounces the word in singing as she she looked at me as though she had have to struggle in this profession, her lifetime ? ’ Sang dur“li become proficient as church organists ORGANISTS. fact, the other day—that those respon¬ stricted and too circumscribed to con¬ Your Organist. editor for the Organ Dej sible for the training of the English tain the richness and exuberance of gested Mrs. M^CtappeH -< ADVICE AS TO STUDY. there are comparatively few who have ventured into the field as concert or- BY MRS. MARY CHAPPELL FISHER. church organist have recognized this music’s growth aided by the influence rounders of the AmerJ1<“,|1 ^“"j ° v!*'Flnglor. Fair Organist—“I’m sorry you had One of the first principles for which This hesitancy is due to a fact. of literature and of the arts. Its ever- Gerrltt Smith and Alex. Guilmant.—Editob increasing development has at length to leave off blowing for us, Giles.” of Tiif. Etcke.] , . °U‘Q number of reasons. Opportunities for women as church To within quite a recent period it > concentrate the mind ^ ^ first place> it requires s great organists are mostly confined to was regarded as amply sufficient for burst the bonds of the musical forms. Giles—“Yes, miss; the organ don’t Do women make good organists? The truth is that the art of music sound what it did, do it? Jim, the new . , . -- - other way caH ’ of time and preparation, and s America, as in European countries one the purpose if the man who presided this question is being be acquire(i absolute independence of much sacrifice Qf what women, to-day is no longer what it was in the blower, be a very good chap, but ’e AUSTIN ORGAN CO. The a “ ‘ never hears of church positions being at the keys was able to fumble his way continually and iticrpqincreasingly cin trl V demon-(1C1T10 FI “ theit.. hands1. n n ,1 „ andnnrl feet,fddt anart all-imnortrUltall-important * . r _ :_ ..m.r nf cncial palmy days of the great German com¬ ain’t got no music in ’im! Now, we as a whole, care for in way of social be]d by women. That fact has no through a church service; could trans¬ HARTFORD, CONNECTICUT strated. For more and more are the factor Df good organ work, duties—and it must be confessed—-- - - -r .u- posers of the eighteenth century. It doubt been one cause of the prejudice pose, more or less successfully, when did used to give ’em summat worth i churches of America supplied Another important thing is slow prac- quires freedom from household cares was then in the heyday of its childhood manifested in this country against required an easy hymn tune; could ac¬ ’earin’, didn’t we, miss?”—St. lames’ women organists of more or . as well. For to launch forth as a con¬ and its youth; its language was the women occupying the organ bench. company, more or less decently, a Budget. ability. A11 exercises should be played slowly language of sunshine and of innocence. cert organist—to be ready to open new This prejudice is, I believe, fast dis¬ choir or a congregation. Such ability To begin with, a woman must have. ancj with great precision. The fingers organs, to make old ones sound like As early as the latter days of Bee¬ ESTEY CHURCH ORGANS appearing, since the woman of the was considered amply sufficient to con¬ a large amount of ambition and earnest- should press the keys down firmly, new, to be able to adapt oneself to all thoven, music began to give unmistak¬ present day has shown herself in this stitute an “organist,” as then under¬ sort’s and conditions of organs with able signs that such forms as the ness to want to play an organ, for there using a continuous pressure which 1= , . , vocation, as in others, to be equal to stood. But it has eventually come to EMMONS HOWARD ESTEY STANDARD MAINTAINED 3 another, p0Ssibly only an hour or sonata and the symphony had already are many difficulties to be encountered transferred from one finger to anoth w,hlch the demands of the organ loft in church be recognized that the church organist Westfield, Mass. MAXIMUM FACILITIES in the way to serious study, and unless makjng each note speak quickly—thus *o become familiar with become too small to contain all that ' have service. should be, first and foremost, a musi¬ HIGHEST GRADE OF PRODUCT i large, varied and constantly increas- music might be made to say. Hence Pipe Organs of Highest Grade PIONEERS AND LEADERS ALWAYS a woman has these qualities in abun- obtaining a perfect legato. _ Regarding this discrimination against cian rather than a mere mechanician as dance, she will hardly persevere to Quite as important as making the ing repertoire —- means -workjf ■ ""Tl the fact that to-day the musical art has women as organists I will quote the heretofore; that, as a musician, it is ELECTRIC TUBULAR PNEUMATIC Examine Key Stop Action and wonder¬ success. keys speak quickly is the manner of stant work. Personality and tempera¬ ceased to employ the language of un¬ ful Reedless Oboe and Saxaphone pertinent expression of Marie MacCon- indispensable that he should be pos¬ leaving the keys. When a note is to be ment of the right sort, of course, are conscious childhood; its language has nell, formerly music critic of the Buf¬ sessed of considerable general culture necessary qualifications. released, raise the finger from the key factors towards success^^M developed into that of the all too con¬ falo News, herself an experienced or- over and above his musicianship, and i play an with equal force and precision, and ii Considering the .preparation neces- ist, scious mature man—introspective, mis¬ Estey Organ Co., Brattleboro, Vt. his technical skill at the keyboard. In “Matchless, Unrivalled,”— ^hn^has* not6 had a ^certain case of* two or more notes raising the sary for concert playing, I would say anthropic, pessimistic, nay sceptical.— Established 1846 ... te-T wrm1d sav “it is evident that all women organ¬ fact, it has become recognized—though “No other instrument so enraptures amount of piano study, and has ac- fingers exactly ■ together. This applies that the study of the works of Bach ■- ists have to contend with that absurd Musical Opinion. the pedal as well as the manuals, for ajjLfcnportant. Is not Bach the perhaps tardily—that the art of organ quired a fair technique. superstition regarding the monopoly of the player,”—X. Scharwenka which is perfect ensemble of feet and hands is preme test of organ playing? In the playing is not, after all, an isolated An important requisite organ playing ability by men. THE CHOIR-MASTER WRITES A the ability absolutely necessary in attacking and study of his work is. there not a foun¬ disconnected accomplishment, such as brought into constant use, i:- . - , “To hear the average person talk LETTER TO A MEMBER OF dation laid upon which all other music is the ability to play a game of chess Church Organs to read well at sight, for no other in- leaving the keys. about organ playing makes one abso¬ or of billiards; that the art is in reality HIS CHOIR. LATEST IMPROVEMENTS strumentalist has more of this to do Play with great precision. Use the is molded? lutely hopeless as to the possibility of very intimately associated with the Strumema . will force. In no other way can an A great musician once said: “I con- , Dear Miss D.:—As I am your choir¬ BOSTON NEW YORK PHILADELPHIA ealizing that organ play- arts of the poet and of the man of let¬ ^One^houldtine snouia also havenave BSthe ,,is...-instinct for organist get away- from. the. . lackadaisi-. . sider Bach is music. Everything else jc master I have a right to scold you if LISZT ORGANS CHICAGO LOUISVILLE DALLAS . • i i ..u t_ s'n 1 o 11no-infr rvf indecisive olcivins „ _ has come from him; and if ls> "ot, a ^estion of physical ters; that there is a common bond of I wish—haven’t I? That is, of course, accompanying, which should have been cal, clinging style of indecisive playing Furnish the most perfect substitute for demonstratedm piano work, for a poor often heard. This applies equally to all music excepting Bach’s were to be tabon relationship between all the arts; and providing you deserve it. It happens, Main Office & Works ‘And in these days of electric organs, that thus any special facility that a a pipe organ of any instruments ob¬ ook Vine nn nlacp in the organ men and women organists, destroyed, music would still be pre- however, that you don’t deserve it, and H accompanist has no place in org importance> when the touch weighs practically noth¬ tainable, and are superior to small man may possess in any one art is dis¬ pipe organs in many respects. They ASTINQS CO. ing and can be regulated to suit the instead of scolding I want to say some¬ An organist must have the rhythmic which in organ work is often slighted, Another has said (Guilmant, I tinctly reflected in any other with differ materially from all other reed Fair Prices. Established 1827. All Sizes. taste of the performer, ‘main strength’ thing very nice. sense well developed. For instance, is rhythm. Everything which has mo- think): “He wa not the small source Which he may happen to be conversant. organs, having a richer quality and has little to do with the manipulation I am thankful every day that I have how else could an organist lead a choir tion, Alex. Gmlmant said to me has whence flowed a rivulet, which in time Hence the fact that any trace of greater body of tone. and congregation in the singing of a certain rhythm The beat of the 0 expand i to a broad stream; he of an organ. As some one has said, culture or of refinement over and such excellent altos, and, also, every No other organ approaches the hymns, unless she could at once grasp horses’ hoofs on the pavement resolves ‘Organ playing is a question of brains, above his musical ability possessed by day I wonder why they are so timid. Mason & Hamlin in the reputation it ORGAN MUSIC o sound phrases, into measures, and not of strength.’ the organist is distinctly apparent in “Are they afraid of me?” I ask. No, enjoys among the world’s most famous tnethe correct temyvtempo andanu rhythm— of-- the---- itself- - - - ...... , ., ... ocsiucs uic smuj v. ... musicians. FOR PIPE AND REED ORGANS hvmn? For even with a director in the Unless music is played with rhyth , i tbg spiendjd concertos of Handel- “But, unfortunately for the women the manner in which he performs upon they are not afraid of me. “Are they i.s the „£«,onictorganist who takes the is meaningless.meaningless.” Now rhythm implies organ ciassjcs appreciated by all mus. organists, the average audience accepts his instrument. In other words, the afraid of someone else?” No, they are JULY “ORGANIST” initiative in “giving out” the tune. accent, and here Guilmant protested s whose tastes are educated along as necessarily good the indifferent work man who with artistic sincerity and not afraid of someone elsp. “Well, 15 Voluntaries in 32 paj To these preliminary qualifications, against the half-hearted, lymphatic serious lines. of many men organists, but the women with singleness of purpose strives to what are they afraid of?” It seems a which organists so often put :ents per copy, or $1.50 a ; e must add that of good health; for fashion - Then, also, the organ works of Men- must play doubly well to be appreci¬ make himself a faithful interpreter of to me that they are afraid of them¬ fflasoni-I)aralmCfl. while the modern organ doe; down the notes, just as though they delssoh’n sta„d high'in organ literature ated, and then—mostthen- wonderful of com¬ the works of immortal genius will selves. What! Why, yes, they don’t afraid lest the instrument should BOSTON quire a great amount of strength ; fine studies for pure organ pliments!—‘She plays as well as the almost insensibly adopt a style of per¬ trust themselves, haven’t any confi¬ weak reflect their individuality. There must playing, it is no instrument for | jjjj style. It is nearly time that the formance that unmistakably reflects dence in themselves. They don’t dare person. However, I believe that there be accent. As composers of rrfusic for the mod- should judge of a musical performance. the genuine artistic spirit; whereas, on sing out because they are not sure of 5 better physical and mental c Accent—-the emphasis or stress given organ the French are, without They are the only competent judges.’ the other hand, he who is in point of A Monthly An¬ to certain notes ' which marks the themselves. e than organ practice. question, ahead of all others. This fact no genuine student of the art that them Journal fook can be playecl very sa Now, is this true? And if it is true, The Choir for Volunteer broader musical divisions of a compo- “”,7’ ‘ some degree to —4 organ (and even,the p sition-cannot, in organ playing, be distinction he professes will almost as insensibly what are we going to do about it? Choirs .’. .-. difficulties in the way. the powerful position the organist oc¬ drift intp a slipshod perfunctory man¬ done by using more force on the keys. The officers of the American Guild Certainly, the best remedy is practice cupies in the churches throughout of Organists for next year will be: ner of performance quite in keeping The first *difficulty . usually , encount- So differentunit; means must be employed. —more practice, and still more prac¬ ered when setting out to study tne or- ^ccent on t^e organ [s obtained prin- France. Honorary president, Arthur Foote; with a self-satisfied and a self-assertive tice. We ought to practice until we i obtaining an organ for prac- cjpajjy by “periods of silence” preced- At special seasons one can hear the chaplain, Rev. W. M. Grosvenor, mind and will in that measure become know our. parts, and, what is more, list. Well printed and bound. Price,$2.00: •hiirrh instrument finest organ music in the world peal¬ both inartistic and unconvincing to the Rightly, a fine church instrument ing the accented notes. D.D.; warden, W. R. Heddon; sub¬ know that we know them. But there is THE LORENZ PUBLISHING CO. should not be for the use of students, ing from the magnificent organs of a warden, Mark Andrews; secretary, musical listener. a limit to practice, as there is a limit HOPE-JONES ORGANS In case of repetitions of the same ‘^^ches Paris. Some of the 150 Fifth Ave., New York Daylon, Ohio and church committees can hardly be i.ote, the first note is given only nne- Elmer; registrar, G. H. Fed- to time, and, at any rate, we need eminent of the French composers erlein; treasurer, Frank Wright; li¬ MUSICAL LISTENERS CULTURED. expected to consent to such practice. half of its value, except when the n™ {of Qrgans are Franck> Lemmens; Guil_ something beside that. What we need Occasionally an organ can be obtained brarian, Carl G. Schmidt; auditors, U:-JONES ORG AN- © is a ong one. w en e perio mant, Saint-Saens, Widor, Dubois and And be it observed that the cultured is “gumption,” boldness and daring. PROFESSIONAL DIRECTORY on page 504 where the student may supply as or¬ silence would be only such as would __ ^ ofS’„ S. A. Baldwin, W. C. Carl; council- musical listener can easily trace in the We have to be brave and keep a stiff Inserted 12 Time., Before Half Million Musical Gigout—most of them still living and Sj Elmira, N.Y., and 41 Union Sq„ , N.Y, ganist during vacation periods, as soon clearly separate the two notes. men, Clifford Demarest, G. Waring organist’s general style of performance front, a-nd never, never, never say, People for $12.00 as a requisite amount of ability is at¬ whose works form a school of organ Stebbins, William J. Kraft, W. C. music, valuable beyond expression. anything that smacks of culture and tained. The use of pedal attachments DAILY PRACTICE. Macfarlane, J. Warren Andrews, Wal¬ There have been illustrious com- refinement of taste or of the reverse, For example: Last summer I wanted to pianos is, to my mind, the best ter C. Gale, Clarence Eddy, F. L. be it ever so slight. This is due to to learn how to swim. Oh, I tried FREDERICK MAXSON Concert Organist means of acquiring pedal technique, To become a proficient organist it is posers for the organ in Germany since Sealy. the fact that all the changes and vicis¬ very hard indeed. I tried and tried and and they give a degree of accuracy even necessary to devote oneself to regular Bach’s time, prominent among whom May be engaged for ORGAN RECITALS- Has played at Yale University; City situdes incident to literature and the better than organ pedals; for there is daily practice—to have certain hours are Merkel, Haupt and Rheinberger, practiced and practiced and practiced. Convention Hall, Buffalo; Grace P. E. Chapel, New York City; etc., etc. Send for circular sister arts have acted and reacted upon But I couldn’t learn. Why? Because with press notices. Instruction In Piano, Organ and Harmony, always the temptation at the organ, to every day and a certain routine of work, and more recently Max Reger. A poet invests his monologue or dia- the art of the musician. Indeed, it I wasn’t brave enough; I was too try tonal effects, thus diverting the at¬ which will become a fixed habit. One Among English composers who have logue with a distinctly progressing 1003 SOUTH 47th STREET, .... PHILADELPHIA, PA. tention from the accuracy of technique. must study harmony, modulation, trans- wielded influence in organ music are rhythm, but the reciting artist is obliged may be asserted that the trend of the timid. With two arms and one leg I There is also the temptation to an position, improvisation and musical his- Best and Wesley, besides many schol- to introduce intervals and rests even in general philosophical outlook upon tried to swim, and with the other leg ambitious student to work too long at tory—in short, acquire a broad, musical arly writers of the present day. passages which the poet himself could not human life and literature during the I clung to the earth. Now you can’t The Carl Barckhoff Company, Inc. a time, for at the beginning an hour a education. The works of the Italian composers, supply. Similarly the composer and the past century is to be found reproduced swim and hang on at the same time. dayu is quite__„ enough. After this she To sum up the question, if a woman Bossi and Capocci, have frequent place performer, only the mode of recitation is and faithfully mirrored and reflected in You have to let go and use all fours. BUILDERS OF Over 2SOO Barckhoft Organs may gradually increase the time, as the has plenty of perseverance and goes on concert programs. In our own modified according to the number of per- the musical art of to-day. This being It’s the same thing in singing; you in use testify to their superiority the case, how is it possible for the have to risk everything at the venture, and durability in construction, muscles become used to the work, for about the study of the organ in the country there are many who’ write in- formers.—Beethoven. workmanship and sweetness of modern musician to keep pace with his let go of everything, push boldly out. tone. Only work ot the highest art in the various changing phases and use all fours. Church Organs grade done. tion THE ETUDE- i ;);ddressin 487 THE ETUDE 486 THE ETUDE string should be touched only with a ’ will make them easier. Indeed, enthu- have a good sense of rhythm. They you can look over only the violin part? hopeless leave the piece alone for a ' siasm is an asset that will be valuable are imitative, adaptable and con¬ If you play the piano, the complete time. Some day when the composition dry cloth. THE PROfiRESSIVE VIOLINIST Hl ^ mSm ISiifSi throughout your life, and if you want scientious, with endless patience for de¬ score is yours. The piano is a useful is conquered and is yours, the warm Keep the violin box in a place of Melodious and Instructive Pieces in Various Styles for your career to count for something, re¬ tail. They are quick to sieze the trend servant. True, it is a poor mechanical glow of enthusiasm will return. Even even temperature—not too near a heater member that it is she of the abiding of another’s thoughts and have marvel¬ contrivance of wires and ivories, but it after a day or two you will take it up or a window. The floor is cold or VIOLIN and PIANO Department for Violinists faith and unquenchable enthusiasm ous powers of carrying out other peo¬ is a library. The whole literature of with renewed interest and a more re¬ draughty, a high shelf too hot and dry, By F. P. ATHERON whose work “tells” in the long run. As ple’s ideas. If women really want music is yours, symphonies, operas, ceptive mind. Often what seems im¬ especially in winter. Keep water on 6775 Cradle Song Grade II . . . .30 _ _ . _ __ _ . _ for opportunity, apathy will prevent orchestral work, they will get it. quartets, songs, et al., if you play the possible at three in the afternoon, is the heater in winter. The evaporation 6776 VaUeldyUe Grade II.30 Editor for July MAUD POWELL y*u from seeing it, and a lack of cour- Prejudice of the American masculine quite easy at io A. M. On the other will be good for yourself as well as 6777 Barcarolle Grade 11^.30 -- age from seizing it; and before that mind is easily broken down. The piano. 6778 Petite Tarantelle Grade III . . .30 A student must also study the theo¬ hand, you may be able to achieve great your instrument. A big jardiniere of 6779 Andaloucc-E*pagnole Grade III .30 THE AMFRTP4N rtTt?T Aian unc . psychological moment arrives, which “Union” accepts women members. The things at n P. M., after having prac¬ water should be kept under a grand THE AMERICAN GIRL AND HER national reputation as concert soloists. may mean an important turning point retical, structural part of music—har¬ An excellent teaching set for violin; in¬ question of dress is not difficult, good ticed yourself into a state of mental piano, especially in a steam-heated or structive and at the same time pleasingly Beautiful work, honorable work, work jn yonr career, your apathetic and timid mony, counterpoint, form and compo¬ melodio us;put together^n musicianly manner. taste and diplomacy suggesting sim¬ excitement, and make the unpleasant furnace-heated apartment. Many a 1 ! , sition. Without these, you play with¬ extremelvEfortB conslde™ tll,at has been tat is needed and wanted, lies well attitude ~of~ mind wilL have interfered plicity, both as to style and color. It discovery the next morning, that youi time, when traveling at night, in zero practical way and the piano accompaniments of the 'distinguished vie iss Aiaua , tbese limits- Our country needs with your progress and kept you in a can also be urged in our favor that out comprehension, memorizing by Powell, as editor^ for this over-heated brain did not hold a single weather, I have put the violin case the pieces arf’good, the’ tftles as given above Tun *fr' ^,enty °f workers °f honest en- state of unpreparedness. Then your we are not as thirsty as the men. On rote, phrasing parrot-like. You trust impression. Undoubtedly, the sane under the blankets in my berth, as care¬ convey a good idea of their general style and partmeut, will resume Ids zt monfh deavor’ w,th hl«h ldeals and adequate rival, perhaps someone with less talent the other hand, it behooves us to take a little to taste, but more to luck. morning hours are the best for work, fully as though it were a live thing. A biography of Miss Poi insicuZ” equipment. Indeed, the field of labor than yourself, but with a saner, in the “Gallery of Celt, the following criticism to heart. Two When reading a new composition, you for memorizing as well as for technical On one occasion my train was delayed for this month. That Miss •n i» th,. "°r such is almost limitless. stronger character, will perceive the op- conductors of my acquaintance have do not know where the second theme practice. When fishermanlike you nine hours by a blizzard. The steam greatest of American violinists, irrespe Take heart, young musician—you who portunity, make the most of it and —Catalogues sent FREE on application— y able critics expressed a preference for men as begins, you are in a wilderness when catch a snag—that is, get entangled pipes froze—so, very nearly, did the tad. Her ■ are too conscious of your limitations, leave you and your duller companions tori Zed by i harp players for instance. Why? Be- you reach the “development,” and fail and have to waste time and energy in passengers—and all that day I kept the THEO. PRESSER, r fret it European Beethoven himself hath said: “The bar- wondering discontentedly why some cause*women forget count the bars 1712 Chestnut St., PHILADELPHIA, PA. successful in the extreme All of the to anticipate in time that you are com¬ freeing yourself, it may help you to violin wrapped in blankets, much more •wing articles are by Miss* Powell with of rest, and rarely remember when to ing to the “recapitulation.” The thing use very simple means, such as not¬ worried over it than about myself. I “come in” without a sign from the con¬ is a muddle to you, structurally and ing the direction of the melody, was to give a recital that night, and hed.CePM?g“ PowdMns Ihl^d"- ductor. This weakness shows a lack harmonically. How can you convey whether it moves up or down, only arrived in town at eight o’clock, of concentration. It suggests, too, a whether the interval is a half or a but when I walked on the stage at ten lack of mathematical precision in the anything of the composer’s meaning to —Edi- others if you know nothing of it your¬ whole tone, a fourth or- a fifth, as the minutes of nine, I found the violin in feminine mentality, and hints at a dis¬ case may be. Invent little ways of self? You will be at a loss in chamber a splendid condition, thanks to my care. like of discipline and routine. Let us your own of memorizing. What mat¬ I know a lad who always kept his violin The girl with a fiddle-box no longer music. Indeed, you will get small ponder this well, and train ourselves ter if they may seem silly to others, so under his bed at night. He slept, even excites comment. The irrepressible accordingly. chance to join others in that delightful school boy no longer hoots and points long as you gain your object? Always : in winter, with his window wide open, work when they discover your super¬ use the same fingering, if your mind i Of course, when the weather was cold, the finger of derision as she passes. TEN PRACTICE RULES. ficiality. Everywhere girls are studying the is not musically quick. A very good the poor little fiddle got absolutely I. Concentrate. Concentrate your violin, and everywhere other girls, a gen¬ rule, that; for in an emergency, the chilled. Then the lad wondered why I with it a copy thoughts on your work, completely and HINTS ON MEMORIZING. eration older or more, are teaching the fingers will carry you through an un¬ the instrument was so unmanageable sautiful catalog of Old Violins—free. Prices. absolutely. One hour of absorbed prac¬ 1 to JI0.000. Easy payments if desired, violin. Girls play in quartets, in orches¬ Read Rule VII and take well to heart. certain passage from sheer force of when he took it down stairs to the tice is worth forty of the casual sort. tras or earn their living by solo play¬ If you have no gift of musical memory habit. Your mind may be a momen¬ over-heated drawing room. c Healy, 87 Adams Street, Chicago II. Play in tune. The worst of all ing. Over a decade ago, Nora Clench and cannot leave the task to your sub¬ tary blank, or a temporary mental diz¬ Our climate, with its sudden changes violinistic crimes is to be untrue to sat at the first violin desk in the Buf¬ conscious self, then you will have to ziness attack you when you are play¬ and its extremes of both dryness and pitch. ing in public, but thoroughly trained falo Symphony Orchestra, under the train, train, train, until your mind will sodden humidity, is unfavorable to both Ill- Practice scales religiously. Play fingers will help you along. In works conductorship of John Lund, and fid- commit objectively. No two people artist and instrument. Both live in a them slowly and with perfect evenness, written in the sonata form, practice ■r died with the best of her colleagues. state of too constant tension and re¬ both as to fingering and bowing. memorize in the same way. Some alternately the original presentation of For sixteen years the Women’s Sym¬ sistance. Take care of yourself—health IV. Practice slowly all difficult or artists have told me that they see the the theme and passage work, and their phony Orchestra, of Los Angeles, with is valuable above all else—but don’t intricate passages; also, jumps, trills, printed page before their mind’s eye, re-appearance in the “recapitulation,” forget to take care of your instrument. Cora hoy in the concert-master’s chair spiccato, staccato, arpeggios, etc. while playing from memory. This I until differences of key, of position, of It will reward you for your pains. has been in ambitious and honorable V. Practice long bows slowly, slowly personally cannot understand. Notes contour, become familiar. You will existence. There are the well-known Treat it like a tender human being, and slowly. Draw out the tone. Pull it out! and rests, with expression marks, arc- usually find, when the composer “Fadettes,” of Boston. The Aeolian invite its soul—and your own. spin it, weave it, but never press it out mere symbols by means of which the writes spontaneously and understand- Ladies’ Orchestra, of London, England, or squeeze the string. By pressing the composer trys to express an abstract ingly, or really has something to say, CORDE DE LUXE is perhaps twenty years old, and the A WORD TO TEACHERS. string with the bow you can check The Best Aeolians, like the Fadettes, boast a musical idea in black and white. These that his music is easily memorized, but the natural vibration, and without One phase of art-study is often lost Hot Weather woman conductor. Several women play symbols are wholly inadequate to ex¬ that if he builds artificially he is a changing the position of the left hand sight of, namely: the making of ama¬ Silk VIOLIN E in the Hartford Symphony Orchestra. press the real essence of music. The veritable bugbear. In the latter case, teurs. Why is it that so many who USED BY LEADING ARTISTS Recently, in Detroit, Mich., the ladies the smallest fraction, you can actually student should, after studying the you can only beat him at his own game, lower the pitch of the note you are spend money and time on musical cul¬ of the Fine Arts Society organized a notes and signs thoroughly, and read¬ by using artificial means in memorizing. ISc Each $1.50 per Dozen producing. Memorize Bach—and more Bach. If ture think they must necessarily pursue Catalog of fine violins sent free string quartet for which Elsa Ruegger ing the' composer’s printed intentions music as a profession? Many who love VI. Memorize everything, including with perfect accuracy, try to make of you play the piano, memorize Bach on MUSICIANS’ SUPPLY CO. was imported to fill the post of ’cellist. music have little talent for it, or may scales, etudes, pieces and difficult pas¬ the music an abstract essence, as the the piano. He is complex, intellectual, 60 Lagrange Street - Boston, Mass. The Soldat String Quartet is known not be qualified by temperament or gifts throughout Germany, and the Nora sages in chamber music. composer first conceived it—a disem¬ full of musical fibre, and should be to become either a teacher or public Clench Quartet, of London, holds its VII. Keep in mind the structure of the bodied, impalpable sequence of musical daily food. He is more than food; fie performer. Teachers should make the own against many masculine rivals. composition while practicing separate sound. The Germans call printed mu¬ is an intellectual tonic. And you will less-gifted pupils feel that they have a VIOLIN STRINGS Year after year the field of musical phrases, difficult passages, etc. Do not sic “noten” or notes, which amuses us find that all others will seem easy very lovely mission as amateurs—to We carry constantly in stock a com¬ effort broadens and offers greater op¬ let your playing or your memory be¬ mightily when we first hear the ex¬ after Bach. But guard against the stiff foster art at home—and by this enthu¬ plete assortment of various grades of portunity for women, and year by year come “patchy”-keep each measure pression. After all, they are right. wrist in the right hand and against stiff siasm enlarge the circle of good listen¬ Violin Strings. These are imported by women qualify for ever higher stand- mentally in its place; that is in its The symbols are only little black notes wrist and fingers in the left. He de¬ ers. On the other hand, many an ourselves direct from Europe and are , ards- At the present moment, we in —not abstract music at all. We un¬ mands strength in the right arm, which w°holeCt relat!°n’ structurally, ’to the elderly, unaccomplished man or woman fully guaranteed as being absolutely re¬ America are working, building, achiev¬ consciously admit the inapplicability of stiffens your bowing if you are not liable in tonal quality and durability. Maud Powell. would be eager to study, if given a ing in the right direction. There is Vm. “Vorspielen.” This German our English word, for we speak of careful. And he keeps your left hand We are certain that these strings are grain of encouragement on these lines. cultivation of music in the public schools word means to play before.” Play- sheet-music, a modification which is so much in one position that you will qualified to fulfill the exacting require¬ Music can hardly be said to exist if it i the home. We have big con- your studies or pieces over in their en- rather sensible. However, if it helps lose elasticity in both wrist and fingers ments of the most critical. ttLaVh:seffirfnfLShfurtheyr’” ^ T S°„mUCh ** tba" lies dormant in the printed page. To servator.es and little conservatories. Cultivate courage andhL noa further. t 0tothers..nf?: Nor will the apathetic teacher,teacl tH-ety before any long-suffering friend you to remember exactly how that dif¬ if you do’ not conscientiously guard become a living, vital thing with in¬ Some are private institutions of modest purpose ICeen^t h r! onen.ess of w>th little love in her heart either who will listen. You will be amazed ficult bar in the second staff on page against the tendency to tighten muscles. endeavor;- others,other* nn „ - U. P°Se- .^eePatit. Go on trying. I music itself or her own work as fluence, it must be heard. There must larger, i have heard a at the sore spots that will reveal them- nine looks in print, then by all means You must constantly think of flexible be listeners. The artist, by his very na¬ ?! !!!’, a"d W1" m?ke your business use that method. But before learning firmness when you play Bach. tance the far-famed conservatories of had utterlv balked • . . ■ -«•— nor achieve the to hea1 them as quickly as possible. any new composition, get its structure ture, sensitive, emotional, longing to Europe. Music is taking a more serious Her • .. at Jn Deginmng. i . _ . ,aU„nS lU 1near other violinists. You will ’ well in mind. Analyze its different CARE OF THE VIOLIN. make propaganda for the true and place in general education, and the Sfficu “ef out °of alL ™8ai*ed the As for an indifferent , telJ in spite of yourself. Then atrtlv parts, and knit them together, bearing beautiful, should find sympathy, en¬ conservatories affiliated with our uni- had diminished her ,pr°P°rtl0n’ soloist, she is Put your instrument away, always, couragement and an answering enthu¬ A Best German gut.. m anomaly, and can k’^ of listening to your own woHc in mind their relative bearing to eacn A Genuine Italian gut.... verstt.es grow in numbers and in im- achievement i powers of carry little conviction to her hearers when not in use. Keep it free from siasm in his' fellow-beings. If he can • other. Play the piece over in its en¬ D Best German gut _ 2^ .25135 portance year by year. Our women’s You do not ki forTou bC m°re SUrprises store dust and rosin. A soft piece of cheese¬ convey but a hint of the secret that D Genuine Italian gut. musical ehih " Y~‘ "w*“w » rou do not know whafyou^an d Italian and money, and would have to earn the French. In the next two and a half yard play concerts, during which she CfcCILE CHAMINADE. Perhaps she derives her grit and years. To him she attributes her first wherewithal. So the brave girl started years she picked up a knowledge of would carefully instruct the other “faculty” from a long line of capable appreciation of classical music, as well out, under the guardianship of her The honor of being, perhaps, the children just when they were to throw ancestors. For her descent is Ameri¬ as her early success. English. Not long after, when they father, and gave concerts throughout most widely known woman composer can, far back into. Colonial times. went to Germany, she learned that Sweden and Norway. their paper bouquets to her. Singing She created a sensation in Boston, came so easily that practically all the language with the same facility. When she had raised a considerable instruction she ever received was from sum she started for Paris, where Gar¬ her brother-in-law, Maurice Strakosch. musical star TUZZLE. TH E ETUDE 491 490 THE ETUDE HOW THEORY AND HARMONY memorizing will prove an easy task If a condition which the energies of the A department of club activity known Miss McLean has put her finger on the pleted. The club at Warren, Pa., fur¬ AID MEMORIZING. one means of retaining a certain pas- club have brought about, they leave to as Altruistic Work is now' a feature of exact reason why music in the public nishes the handsomest program book, - sage in his mind fails, he can have re- the community the task of providing the best woman’s musical clubs. The school is usually a failure. Public ey frank r. Austin. course to another. If questioned very and has just finished its second year’s its own foreign artists,” and will at duties are both philanthropic and edu¬ school pupils are too often forced to - closely as to how he memorized so course. their own musicals produce novel and cational. For example, the Pittsburg study for marks to the exclusion of A knowledge of harmony and theory easily, such a student would make reply The future of music lies altogether interesting works with the assistance club gave eleven recitals during one either culture or intelligent interest in in the hands of women’s musical clubs is of utmost importance to all students that in some places he had a mental of artists and orchestra. A late Pro¬ season at various charitable institu¬ their pursuits. No topic which re¬ THE WORK OF OUR WOMEN’S in the new West. “I cannot really of piano if it serves no other purpose Picture of his music, while in others he gram shows that one club gave Liza tions of its city and further supple¬ ceives no credit can possibly thrive in say,” writes Mrs. Y. K. Hart, Presi¬ than that of making memorizing knew what to play by his knowledge MUSICAL CLUBS Lehmann’s “Alice in Wonderland, mented this by individual work in the a credit system. dent of the Saturday Musical Club of much simpler task Many piano stu- of harmonic progressions. The former and it has in view a series of equally factories under the direction of the This work among children is wide¬ Cheyenne, “that this is the only club choice and interesting compositions. d,„,s do no, too, oven to ,h.y %££ £ By FANNY MORRIS SMITH Y. W. C. A. Requests for such re¬ spread. The Virginia Federation is re¬ in the State of Wyoming devoted ex¬ In this case the club had at hand the playing in, and, other than citals constantly increase. ported as doing much in the public laws of association. clusively to music, but I am under the Dossesbach Orchestra, which has of something having happened, do not Never in the history of music has petuating a taste for music among us The club at Pueblo, Colo., last year schools, and so are the associations of In order to be able to memorize impression that it is. There is a club grown up side by side with it under know when a modulation occurs, and this most spontaneous of all arts had the National Federation comes as a in Laramie, but it is comprised of the intelligent patronage of its mem¬ gave concerts to crowded houses in those Western States to which the , , readily and without much effort it is most valuable help. It offers a Bureau if it does occur wrhich key^or^keys necessary for a student of piano music so many devotees. I say spontaneous mixed voices while ours is not. We bers. the poorer sections of the city in this trained club woman naturally finds her of Reciprocity, a Program of Ex¬ the composer is leading you. But advisedly, because, while cradled in have had a good year and have given Other clubs in large cities like New line of work. The St. Cecilian Club, way. understand the laws of harmony, change, a Plan of Study, and at least of the necessity of piano student form> and counterpoint. That : the religion, traditions, occupations programs selected from the works of York, Chicago and Pittsburg can call Grand Rapids, Mich., in one year gave The Minnesota Federation of Wom¬ the beginning of a circulating library. studying harmony in another article. say( a thorough knowledge of those and ceremonies of all other nations, Gounod, Rubinstein, Grieg, Chopin, on the great orchestras maintained in fifty musical programs at hospitals, an’s Clubs has issued a special leaflet with us it draws no life from any one The Bureau of Reciprocity publishes Music, like anything else we wish to laws which guide composers in their Chaminade, and one program of mis¬ their midst for great events, and on public schools and county houses, be¬ on the same topic: of these, its normal parents. We a list of members of all clubs in the cellaneous works. Last year we stud¬ the subsidiary organizations for lesser retain in our mind, can be often easiest musical compositions is a great req- sides going into a number of houses “Public opinion,” writes Mrs. Caro¬ neither worship God with a joyful Federation who are willing to give re¬ ied Wagner. We usually close the needs. Thus the famous Rubinstein committed to memory by the common uisite and of invaluable assistance in where illness or old age made a few line V. Smith, chairman of the music noise nor propitiate the powers of citals for their expenses or for a small season with a concert, but this year we Club of ladies’ voices, which has for laws of association. We remember an committing to memory. The student nature with appropriate song and remuneration. By a recent broadening gave instead a musical tea, the club many years given concerts in New songs acceptable. ' This club is the committee, “is still opposed to music historical event or a phone number who lacks theoretical knowledge is dance, nor execute the day’s work to of this movement several of our Amer¬ carrying out the musical program. In York which, for perfect preparation, only one which possesses its own club for the children in the smaller towns. often the easier if we associate it with handicapped in both the enjoyment and the rhythm of song and hand-clapping, ican artists are cooperating. Any the few years that we have been or¬ excellence of program and high-class house and it also possesses a number “The music club can encourage the ■something else. For instance, we asso- attainment of his music. Time ought nor make song the vehicle of cere¬ American artist may be listed with the ganized we have bought a piano and vocal training have probably never of endowed memberhips limited to one introduction of music into the schools ciate the supremacy of the great Roman to be taken in the lessons to acquaint Bureau of Reciprocity by uniting with monial religious, national and civic presented it to the Carnegie Library in been excelled, has at hand abundance year each, to be obtained by competi¬ of a community. The music club can empire over all other nations with the thr\ PUPH wit,h the. fundamental laws a Federated Club and having her name observances. No music is created by the auditorium of which we hold all of orchestras on which to call. But tive examinations in singing, violin and urge the appointment of a supervisor birth of Christ, thus retaining both ?f harmony the object being to enable the opportunity, and no popular in¬ appear upon the list furnished by that meetings and give our recitals.” piano pitting. in music. The music club surely can him to analyze simple harmonies at even in so large a city as New York great events in the mind at once; also, terest waits on its appearance. Music, club to the Bureau, with the under¬ it remained for the famous Seidl So¬ The numbers offered for the 1908 ex¬ provide illustrative programs given first, then more complicated combina¬ THE INFLUENCE IN THE COUNTRY. who would forget readily a phone if it is to exist in America, must seek standing that her services are available ciety, of , to support the aminations were “Widmung,” “Air especially for the children of a town. tions of notes and modifications. It is ber which read 1234, or, shall its nurture in other ways. to federated clubs at a price lower than It is in the outlying districts that Seidl Orchestra and make it possible Bach-Wilhelmj,” and three classic The music club can do much to assist A , not necessary to beue auieable toiu name eacueach Where is music to be found? Once her usual fee. club life means a great deal to the for New York to retain one of the arias, such as Mendelssohn’s “But the the supervisor in music in carrying out A22? The natural arrangement of the and every chord of a piece- It wil, it was in everybody’s heart. The peo¬ Here we have the necessary public club members. “I have heard farmers’ greatest Wagnerian directors of our Lord is Mindful of His Own”—no her work on broad lines—she needs figures would be the association in one suffice to be able to associate it with ple’s song, the minnesinger’s lay, the for the development of the growing wives tell of driving fifteen miles to time. I may add that New York City mean test of ability by any standard. public opinion in securing a suitable case, and the baby’s manner of calling what has preceded and what will fol- churchly , all kept it intimately artist, which could be obtained in no their little club meetings, and how itself gave but a stepmotherly support I dwell upon the work of this par¬ music library; she needs good musical a train “a Tooto” would suggest the low it. There are, indeed, some chords present in every season of life. To¬ other way. The amateur who, by a much the meeting meant to them, to Mr. Seidl in spite of his connection ticular association, with its club house, instruments in order to carry on her phone number in the other. jn Grieg’s music which might defy day we have the hymn and tune book normal process of improvement, rises whether they studied music, art or his¬ with the Philharmonic Orchestra. As student division, chorus, philanthropic work successfully.” Sometimes we are at a loss to know naming, and so long as the harmonic step by step from her little music of the church, but congregational tory. North Dakota is a club State,” years went on a similar discourage¬ work, classes for study, and library, I am indebted to Miss Mary E. Dick¬ how to remember an important item, progression is understood it is not es- study society to the audience in the music is almost a tradition; we have writes Mrs. Chase, President of the ment to that which banished Mr. with special interest, because I hap¬ enson, chairman of the Indiana State being able to find nothing to assist the sential that one should spend time in great concert hall of the large club the concert hall recital and its phono¬ Jamestown Musical Club. Theodore Thomas to Chicago, to the pened to spend a winter in Grand Federation of Clubs, for the following memory in associating it with some- analyzing too minutely, formed of skilled musicians, and then graphic reduplication in the city and These newer States are necessarily lasting good of Illinois, overtook the Rapids in 1869-70, and was that year list of subjects studied by the Indiana thing else. Then we often resort to is successful in a series of appearances on the farm; we have in many in¬ in the earlier stages of club develop¬ younger genius who had supplanted a member of the only club it boasted, ■ Musical Clubs in the State Federation: writing it down so as to get a mental IMPORTANT SUGGESTIONS. before stranger. clubs, is well on the stances a very inadequate teaching of ment. This also applies to the Gulf him, and without the orchestra in a history class presided over by Mrs. road to virtuosity, while the exchange Orchestra and Chorus Directors of the art of singing in the schools; the States, except in the largest cities. Brooklyn he would have fared ill. Stone. The city was then on the wi" °Ur minf th™ TiU n°‘ fade To students of harmony the follow- of musicians among the clubs is in the America. piano and organ in many homes. We While instances occur similar to that It was through the exertions of a actual frontier; everyone was living in Hstance snelTX m *5 ^ suggestions will be of valuable al- highest degree educational to the clubs American Composers, John Beach, stance in committing their music to also have a devoted band of music of Mrs. L. C. Allen, of Shreveport, La., woman working among women that a cabin or half of his future house, the Mrs. H. H. A. Beach. they imagine what it looks like when teachers ready to instruct us in the themselves. memory: who, after acting as President of the the Chicago Thomas Orchestra was remainder to be built as fortune Relation of Music to General Educa- written or printed. Also we remember art, for the language of music is now Bear in mind always in what key Philharmonics, has now founded a finally established securely, and the favored; and I played on a Knabe faces by the impression they make at a foreign tongue as necessary to ac¬ PROGRAM EXCHANGE. college of music, as far as I have breaking up of this lady’s work was piano which had been accepted in pay¬ you are playing. If a modulation oc¬ quire as French and German. Upon Music Critics of America. first meeting. It is very evident then Only less helpful is the Program been able to learn little altruistic work effected by the machinations of inimi¬ ment for the lumber cut in the Grand curs, determine the new key and take whose shoulders rests the development Recent Additions to American Mu¬ that all kinds of memorizing, whether Exchange, which brings its list of is attempted. cal parties far from the scene of her Rapids district in lieu of cash, and was note as to when a return to the orig¬ of the art among our seventy millions sical Literature. of events, of poetry, or of music, must classics and novelties into the hands In looking over the programs before triumph. housed in the parlor ef the new First inal or a change to some other key of people? We are obliged to turn to Illinois publishes a list of Illinois be done according to natural laws com- that need them most. The Plan of me, gathered from the four corners of Normally, the artistic needs of the takes place. | the music club as the one and only Congregational Church for safe keep¬ composers of music and representative Study, covering a period of several the United States, I am struck by the growing musical club bring of them¬ force to which music may look for ing, pending a buyer. From the social works. There are twenty-four of them, To those who are ignorant of any ^Ct"ally "aming . ever^ years, is also very helpful. Only the uniformity of the composers represented selves an orchestra into existence. nurture and development, since it evenings in this very parlor must have and some of their works are of con¬ theoretical knowledge of music what- £ Zj 6 pIay!n*’ take “ of club that has nearly suffered dissolu¬ and, to a great extent, of the selections The Beethoven Club of Memphis, alone offers companionship, apprecia¬ tion from a poorly contrived plan of sprung the club spirit that has since siderable scope, such as the Cantata, used. This is probably due to the uni¬ Tenn., and the Musical Club of Hali¬ soever it must be explained that all relatio^t^ cho?dand. mark tk-r tion and judicious criticism. molded the growing city to its present “The Passing of Summer,” by Rossiter music is composed according to con- ,£°“ t(Lch°rds preced,I?S and fol- work can appreciate what it means to formity of the teaching of the individ¬ fax, Canada, occur to me as being At first sight the club register pre¬ have ready at hand a thoroughly standards of culture in just forty G. Cole, for solo, chorus and orchestra. ual members. For instance, at Port¬ among those that possess their own sistent laws of harmonic progressions wifi be rmMe «T*f S Sen.tenf sents a dishearteningly small list of scholarly scheme of programs, such as years, where another race would have “It is with a spirit of pride,” says a land, Oregon, ten years ago, ten ladies, orchestras. For its own advancement and key relationships. The harmonies ZlLt, — P f T-^°r three SlmpIe societies to which to entrhst this all- that prepared by Mrs. Wardwell, taken four centuries. In this connec¬ writer in the year book of the Pitts¬ of music must blend, else the result L many ,dlfferent positions, all of them former pupils of the New it should be one of the first cares of important functions. The List of Fed¬ which included catechisms for topical tion, I may add, the music club of England Conservatory, Boston, organ¬ every club strong enough to pay the burg Tuesday Musical, “that we, as discord, and not music Also the SUch CaS6.S’ 3 dl.scovery of * will erated Clubs for 1909 shows some work and companion keys to the ques¬ Portland, Ore., is working towards • • • ■ Also ttle Prove most interesting and helpful in ized a New England Conservatory tuition fees to form a string quartette, a club, recognize the talented com¬ key in which a composition is written sixty-six societies affiliated to the State tions propounded. No better founda¬ its club home to be erected in the near memorizing. Club. Its membership, limited to con¬ with wood wind instruments in re¬ posers who dwell in our midst and in¬ must be maintained, and if modula¬ and General Federations; and the Fed¬ tion for a newly organized club could future, and other clubs are considering 3- All compositions of the older servatory alumnae, in ten years has in¬ serve, if possible. These little organi¬ troduce them and their works to our tions occur (which in all compositions eration of Woman’s Musical Clubs, be devised, since the Federation Plans a similar plan for future activity. creased to nineteen. It is plain that zations, if outside the club member¬ members. Accordingly, we find com¬ of any length always happens) these ma!*frs of the. classic school of c._ one hundred and thirty-one. But are the quickest path to the magnifi¬ The report of the music committee Portland will enjoy just what Boston ship, are glad to obtain private en¬ positions by Pittsburg musicians of must be in accordance with the laws P0®14]011 are Tftten according to speci- these figures are misleading. Take, for cent courses offered to members by enjoys. North Dakota has a well- of the Illinois Federation of Music frequent occurrence in its admirable of correct key relationship and judi- ■ ed forms: . If y°u have studied form instance, the Wa-Wan Society, which such clubs as the St. Cecilian, of Grand gagements and the club is enormously Clubs, and a letter from Miss Mary planned conservatory under the charge strengthened. entertainments. This movement is of cious procedure from one to the other. ™ co™Poslt|on- determine at first read- has eleven chapters scattered through Rapids, or the Tuesday Musical, of of Robert Boice Carson, from Chicago, McLean, chairman of the standing the greatest moment to the future of An indiscriminate use of many different lng •e. Pn"clPal themes, and grasp the country. But one of these, that of It seems to be a normal develop-^ some idea nr wVipt*p n-nt* - Pittsburg, or the Woman’s Music and much interest is taken in music committee on music, shows another American music. There has always keys, and a series of abrupt modula¬ some idea of where one theme closes Detroit, appears in either Federation. ment of the strong long-lived club to Club, of Bordantown, W. Va. These throughout the entire State. Its num¬ most desirable sphere of activity—the been music written in America by tions without the slightest preparation, and another begins. If you get some Nor is it possible that Wisconsin pos¬ foster, and finally establish, a choral are old clubs that have brought erous clubs have called Edward Bax¬ reformation of the teaching of music Americans, but it has been swept to idea of the form of a composition, it sesses but one musical club, nor Ala¬ division. In the Tuesday Club at would result in disconnected and unin¬ their members forward from the ter Perry, Wm. Mentor Crosse, Min¬ in the public schools, and its direct one side by the student spirit that has will assist materially in committing it bama, Massachusetts, Rhode Island Rochester the chorus ultimately grew telligible productions. simplest to the finest ideals of music, neapolis Symphony Quartet, Sousa’s application, to Church and Sunday- been for years uplifting our amateurs. to memory. nor , each of which has but one to the dimensions of the independent It would be seen then that a knowl¬ as they have progressed from the Band, Italian Band, Nordica and school music. Quoting from Miss Mc¬ 4. Take advantage of every scrap of representative in the Federation. Festival Chorus, which is firmly estab¬ Now, having passed the student ex¬ edge of those laws which guide com¬ study of the elements of musical his¬ others to their auditoriums; and Val¬ Lean’s report: knowledge you possess in this art of Massachusetts was the mother of lished on its own foundation. In the perience, our older associations are posers in the composing of music tory to the deepest questions that ley City held this year a May Festival; “The committee believes that each memorizing. Rest assured that the clubs, and is full of them. In fact, they Pittsburg Society there is a club ripe for an expression of our own would materially assist the student in underlie the development of the art so also did Tallahassee, Florida, and year develops an increased interest in more thoroughly equipped you are, the are too easily established and perpet¬ itself. choral of forty-five members, and genius, which has waited its time. The the study of the same. Further, if the scores of other seats of club activity. the improvement of church music in uated to feel the need of support from nearly all clubs of equal age and Federation of Musical Clubs recognizes student thoroughly understands^ de- y°U g^Sp 3nd remember There is even a well-tested constitu¬ Let but one well-organized club per¬ the smaller towns where artists can¬ without; but in Oklahoma, which has strength are similarly developed. The this by offering a prize competition of tion and by-laws prepared for new sist in its work for a few years and the not be obtained. Let us see that our tails of a composition theoretalt, J etlZne“SJ fourteen in the two Federations, or Pittsburg is practically a conservatory American composers, with three prizes: Viz., the different keys employed the f “0re d,.fficult passages, clubs. concert artist and the orchestra will influence is felt in this direction, and Colorado with nine, or the State of for amateurs without a professional $1,000 for the best orchestral composi¬ Mrs. Wardwell writes: “The Middle that only the best musical composi¬ modulations and where they ofeur the W o by harmon.I®s’ bY associat- Washington with eight, the case is dif¬ find ample patronage in its vicinity. teacher, since its members are classi¬ tion, and $500 each for a vocal and a and Southern States evince the most tions used in the services of church chords in their relation to other chords mfntT W*h another- br ferent. Here the clubs help one an¬ Ultimately, such clubs as the Tuesday fied as student, special active, active piano solo. Mr. C. M. Loeffler, Mr. interest in this work; New York, Musical, of Rochester, N. Y., having and Sunday-school. The committee phrasing, time, accentuation, pedaling any or ^mean? 5? t* 1?„pnn^ed’ ^ other, and are strengthened by their solo and associate.” Under the direc¬ H. E. Krehbiel and Mr. David Bis’pham fingering, etc., it is not hard to °f al means that will assist the Pennsylvania, Illinois, Iowa, Michigan, passed through the phase of club edu¬ union with the Federations. tion of the chairman of the Students’ recommends that the clubs renew their are among the judges. This competi¬ Ohio, Oklahoma, Tennessee and Texas cation step by step, will be able to stand how easy, with such a thorough ret3i" what yoU de‘ Committee two students’ recitals are interest in the formation of choruses tion was inaugurated at the Fifth Bi¬ THE PURPOSE OF THE NATIONAL having the largest number of clubs on publish a list of artists whom they among their members, and in the or¬ knowledge of a piece, it would be to possession The *1 y°Ur °^" her list. The musical club of Marlin, held yearly, and upon examination ennial of the National Federation of memorize it. possession. The student whose attain- FEDERATION. have brought before the public of members are passed from one £rrad,» ganization of choral societies in the Musical Clubs, held at Memphis. Tenn.. Texas, has covered the greatest which any musical organization may various towns.” Th, atud.nt .ho i, able to harmoni- To the club which is struggling a higher. This is the plan now pUr° May 8-11, 1907. The successful com¬ amount of study. A meeting is held well ^ be proud, and then announce The extremely practical value of this against heavy odds in its task of per¬ every week and the entire course com¬ positions will be performed at the Sixth that “having no desire to compete with admit of fi°St dUbS Str°ng enouSh to last suggestion is of itself a test of the Biennial, held in May, 1909, at Grand TZs&zzssrssr-JS: is ar t-r""* ;h,y r *** i*“ genuineness of the Illinois club work. Rapids, Mich. has all the requisites necessary and branch of attainment * THE ETUDE 493 492 THE ETUDE The Toy Shop, children's operetta, by Mary SONGS, EASY. SONGS, ADVANCED. Packer. I’rice, 60 cents. Sea Fairies, by H. H. Beach, female voices. Beach, H. H„ Blackbird.40 A. L„ Musical Works by Women Price, 50 cents. Wouldn’t That be Queer, .60 When Myra Sings.... Chickering, C. F„ In the Night .40 Beach, I. H., Spring. Lonely Rose, by M. R. Lang, female voices. Cooke, Edith, Two Marionettes.50 Fairy Lullaby Price, 25 cents. de, C„ . be taken up as supplementary work. No other House That Jack Built, operetta, by J. Gaynor, Jessie, Slumber Boat.50 Chami: etudes will be necessary during tbs penoi Judi¬ L. Gaynor. Price, $1.00. Discontented Duckling. .40 A Classified List Griswold, Gertrude, What the Chimney ciously selected pieces w.ll be needed. The easier The Singing Leaves, mixed voices, by Grace Del Riego, T., Slave Song. . . . Maybew. .50 movements from the sonatinas of . " ..Thee.. Kuhlau are excellent. I do not advise an entire Spring Serenade. This issue, devoted as it is to “Woman's LITERATURE. Haymaking. you say your pupil is deficient. They should also be sonatina unless the pupil has a good dealof time: to Jackson, A. W„ Across the Dus Work in Music," would not be complete with¬ Pianoforte Study, Hi Piano Playing. Lang, M. R., Ghosts. Dell Acqua, Provi worked up to the metronome speed. Then a course practice, as he is likely to get tired and discouraged out mention being made of the many practi¬ Villanelle . in Cramer should be undertaken, intermingling by Alexander McArthur. Price, $1.25. Allitsen, F., Like as the Hart. before it is finished. This is only human nature, and cal and artistic works that have been given The Life and TF01 8 of Tchaikoicsky, by Lehmann, Liza, If No One Ever some of Bach’s “Two Part Inventions.” After this The Lord is My Light. .. . the pupil’s interest is more easily retained if it is to t le ^“™p0“ers The following is a partial Rosa Newmarch. Pr Song of Thanksgiving.... the Clementi “Gradus ad Parnassum,” intermingling humored. You will find the metronome invaluable f this charac- Musical Sketches, by Elsie Polko. Price, Mayhew, Grace, Shoogy Shoo. Lehmann, L., Endymion. Bach’s “Three Part Inventions.” A judiciously se¬ list < $1.25. Oliphant, S. J„ Baloo, My Dear.. in the development of speed. Set it at 60, for ex Orth, L. E„ Tiny Bit o’ Heather.. Mirage . lected list of pieces should, of course, be used con¬ An American Oirl in Munich, Impressions Titania’s Cradle . ample, and advance it notch by notch as the pupil of a Music Student, by Mabel W. Daniels. Sans Souci, Gertrude, My Heart is S stantly. You will find in this number of the Round is ready for the increase in speed. When the point ing . ■hism of Music. e, $1.2. Vnnnah, Kate, My Table a list that will be useful until she has acquired is reached, however, that the muscles begin to Chambers Killough. Music: How it Came h it It Is, by SONGS WITH PIANO AND OTI Allitsen, F„ Since We Parted. INSTRUMENTS. more ability in noting details. If the music is not stiffen, drop the study and leave greater velocity to annali Smith. Price. $ in- of Facts About Music, in question d’Hardelot, Guy, Say Yes. technically too difficult she will progress much he acouired later. Great speed must not be at- Indian Story and Song from North Mignon . Beach. H. H., Ecstasy (violin). more rapidly in making up her deficiencies. If she iswer form, on the elements of music. merica, by Alice C. Fletcher. Price, $1.25. d'Hardelot, G., Invocation (violin, ’cello, !. M. G. Bunch of Violets... is expert you will most likely be able to omit some 'rice. r>0 cents. Masters of Music, Their Lives and Works, Von Hammer, M., Rose Once Grew.. harp) . Rhythm, a contribu- by Anua AIIce chapln. Pl.ice> $1.50. Wood. M. K., Ashes of Roses. Visions (violin, ’eelio, of the etudes in both Cramer and the Clementi- •LEGATO. aching and study. Music Study in Germany, by A ly Fay. Abbott, J. B„ Just for To-Day. harp) . Tausig. Some of the “Inventions” can also be omit¬ ; material necessary to accurate Price, $1.25. Goodeve, A.. Fiddle and I (violin) “Will you kindly tell me how to make first and ■ar training, by Effie A. A. Hepler, “’’ ’ M„ All a ~ ' - This is simply another case of a badly taught ted. Indeed all of these are more or less “expur¬ Taylor. A. H., There’s a Beautiful Land, .50 A1Iitscn, F„ Like as the Hart (’cello). ■cond grade puplis realize the Importance of. and Song of Thanksgiving (or- gated” by the experienced teacher. It will be wiser itain. a good legato? iting Primer for Music Students. Prnc- PIANO, EASY. Allitsen, F„ Glory to Go ' on High.. “-* pupil who is suddenly confronted with that fact. “Will you also give me a list of fourth and fifth Orth, L. E„ Buttercups.... .15 gab) . Thousands of talented people abandon their music for her to take up a thorough study of these before cade pieces ?” zeroises for acquiring knowledge of the Reach, H. H„ Columbine. Little Hoptoad .15 Wood, M. K.. Thou (violin). attempting to go on with more difficult work. If rudiments of music, by M. Susan Mori Pierrot and Pierrette.. Worden. M. S., Till I Wake (violin)... and never play, simply because they find themselves Causing students to realize the importance of 50 cents. Miss Morris has also invented Minuet . Gaynor, J. L., Cradle Song (violin)... she is intending to become a teacher, she should all "Elementnire,” deesigned to in the condition you describe. After spending years anything depends upon their age. You can hardly the Dutton, Th„ Birthday. SONGS, MEDIUM. the more industriously follow through this course rudiments of musi Holiday . in study and practice, they find they can play noth¬ of study, in order that she may understand how to expect it of children. Nothing is important to a Adams. C.. Slumber Song. .50 VOCAL DUETS. The Cat Allitsen, Frances, Love is a Bubble.. ing with ease and surety, can learn nothing cor¬ use it with her own pupils later. child except the thing that he wishes to do at any The Bear fin Beacl1’ H- H., Sea Song (2 sop.). rectly without a teacher, and finally give up discour¬ given moment, and many people grow up without Suggestive Studies for Music Lovers. A , L. E. Jackstraws.. Stars of June. '50 Night Sea (2 sop.). aged. Oftentimes the fault is largely their own, for ACTION OF THUMB. having developed very far beyond this point. It is, foundation work in technique, theory and in¬ A. L.. Come. Sweet Morning. „„ Allitsen, F„ In Our Boat (mezzo and Smith. H., Peasant Dance. Good-Morrow . alto) . they have never used their intelligence or reason ) Will you kindly explain correct action for of course, a part of your business to make the child terpretation. Intended for adult beginners, by Ballet Dancer . 35 Chaminade, C., L'Angelus (mezzo and mid it move from f-'- Caroline R. Noreross. Price, $1.50. When Love is Kind. while practicing. Instead of carefully thinking out realize responsibility, and the amount of progress Melody . Oharmante Marguerite . _____. ... __ -Je prelimi¬ The Modern Pianist. The fundamental d'Hardelot, G., Night their music, they simply go at it, as you say, in a nary table exercise directed that the thumb be he makes along this line will indicate the rate of principles of the Leschetizky method, by Terry. F. E., In the Tent. Aylward. F., World of Praise. the Wood haphazard way. They are like a person who starts well extended outward from the metacarpal joint, development of his mental faculties. The child Under the Trees.. Beloved, It is Morn... (mezi this joint remaining inactive while the second and Marie Prentner. Price, $1.50. Adams, C.. Shepherd’s Song. Smith, A. M., Maying (al to walk through a field filled with gnarled roots should realize first that what you tell him is true Preparatory Touch and Technic. Intro¬ Beach, H. H„ Ecsf third joints were contracted toward the hand. In Trumpet Flowers ... Hash ) Belov projecting from the ground without looking to see another exercise for lifting thumb, I read that because you tell him, and that he must follow your ductory to Dr. Win. Mason’s “System of Ar- Ellsworth. X., Happy Moments for the action should be entirely in the joint by which • tistic Pianoforte Playing,” by C. E. Shimer. the Spring.. A Ditty (medium voices), where he places his feet. Of course he stumbles at it, is articulated to the wrist. instructions for the same reason. Gradually he will Ones ..Net .50 Bearnard, C. R„ Word of God. ., At Daybreak (mezzo “(b) Which is better, high knuckles with low Price. $1.00. Metzler, B„ Tripping O’e; nearly every step, and is ridiculed for his lack of in¬ begin to perceive for himself that your instruction First Studies in Rhythm and Expression for the Daisies, Berry, A. I,„ Dewdrop and Rose. and tenor) . telligence. But he is no more deserving of ridicule wrist or a more level position of the top of the In the Time of Apple Bios Black, .T. P. Cynthia. Fly Away (sop. and is reasonable. But at first you should exact obe¬ Piano, by Marie L. Brown. Price, $1.00. Carmichael. M„ Mistress Mine. than the student who practices without learning to a“(c) W: ilso state whether dementi’s The Groundwork of the Leschetizky Me.hod, Gradus a< 1 Parnassui may^be used^ for^ a^pupil dience, and it should be freely given, in order that Crosby, Marie, Haunt of the Fairies. Come and Trip It.. observe the little roots, in the way of marks of ex¬ wno nas nad but oi there may be no friction. Without a good legato by Malwine Bree. Price. $2.00. In the Gipsies' Tent. Chaminade, C„ Silver Ring. ork in Music, by Blanche Dlngley PART SONGS FOR WOMEN’S VOICES. pression, etc., that cover the field of his music page. advise Czerny, and there can be no playing that is worth taking into Bugbee, L. A.. The Circus. Were I Gardener... e, $1.50. Come, My Love.... (Four parts except when otherwise marked.) It is, indeed, often a difficult matter to teach pupils account. This your pupil should know, and aim to The Wishing Carpet. that these are simply the directions telling how the a. The thumb should lie straight forward over the . H. L., Fire Drill. Ritou nelle Beach, H. H., Little Brown Bee. key, with the point slightly directed toward the acquire it. If you will procure a copy of the first INSTRUMENTAL AND Rosemonde .. Three Flower Songs... music should be played. They are as plain as type Colette .60 fingers; this, however, to obviate a common ten¬ volume of Mason’s “Touch and Technic,” you will Musical Poems for Children. PIANO, MEDIUM. r Hill a... and ink can possibly make them on the page, and find in it a full treatment of legato and the jbesl'' the piano, with appropriate v Crowninshieid. M. B„ There is a Land.. .40 Come Unto These Sands. . yet multitudes of pupils come month after month, dency of the point of the thumb to turn out from tavio Hudson. Price, 50 cents. Beach H. H., Menuet Itallen_ .50 1,el Riego. T.. O Dry Those Tears.60 Through the House. the hand. For striking purposes only one motion means of obtaining it. I know of no other bo6k in Barcarolle . Goodeve, A.. Ah, Well a Day.00 minade, C., St. John's Eve. even year after year, and pay their money to the FLurer Ballads. Children's songs, plays Dolores, Brook . is possible to the thumb, the up and down motion, which it is treated more explicitly. To consider it and''■pictures for kindergarten In Autumn . Sailor’s Christmas .... teacher to tell them that F means to play loudly Iiood, IT.. Baliata. d'Hardelot, G., All for You.’ with the first and second joints held firmly and fully here would require more space than is at com¬ schools, by C. S. Senour. Price, Evening Prayer in Brit¬ here, and P softly there, and cres. to grow louder mand. The Science of the Art of inging, by In Bracken Time. tany (3 parts).. gradually, etc., etc. These same marks have to be quiet. These joints come into play when the thumb Anna I.ankow, Price, $3.50. It.. Petit Roman.Xet 1 Without Thee . ! Acqua. E., Minuet (2 parts). shown them in every piece they take up; and mean¬ crosses under the fingers, as in scales and arpeg¬ The following fourth grade pieces you will find Srrrn Songs, bv Mildred J. Hill Meditation . Gabriel. V., When Sparrows Build. swold, G„ What the Chimney Sang interesting: Scherzino in F, Moszkowski; Etude .Tacobs-Bond, C., His Lullaby. while the teacher is constantly yearning to tell them gios. The first exercise you mention helps to train Six Soaps, by Clara IC. Rogers. .. Forgot t.n Fairy Tales..Net Joyce, F. B„ Little Boy Blue. the thumb for this work. It is also valuable in as¬ Mignon, Schutt; Cortege Rustique, Templeton the more advanced things they ought to be ready s Peterson. King, t Holmes, A., King's Two Children. ■o0 Dear Name (3 parts). to learn. sisting the pupil to gain conscious control of all Strong; In the Gondola, Bendel; Ballet Mignon, Devotion . .50 Stair. P., Little Dutch Lullaby (3)_ muscles. Wachs; Nocturne in G flat, Brassin: The Two Kypris . •60 Minuet . Such things are a common experience with every Hose Songs, by Jessie L. Gaynor. $1.00. Ilopekirk, H„ 0 Can Ye Sew Cushions. teacher. Nothing can be done with the pupils, b. For quiet legato work the level hand is the Larks, Leschetizky; Etude Melodique, Godard. Four Indian Love Lyrics, from “The Gar Lang. M. R.. Song of May. ■f° Sweet Jesu (3 parts).! Fifth grade is as follows: Arion. Kroeger; Min- 1 of Knma,” by Amy Woodforde-Finden Slumber Song '.'.'.'.' .40 Beach, H. H., Indian Lullabv. . . however, until they themselves awaken and realize best. If the wrist is held high a punching move¬ Kara, Andante ami Allegri Thought . ,40 Conant, G. W., Little Dog Barked. ment is likely to be developed in the fingers. If low, uet from Suite, Op. 72, Raff; Impromptu in B flat, Irish Love Song. their own responsibility. Make a point of asking of Ancient America, b Natalie Characteristic Piece Lehmann. Liza, You and I. Northern Cradle Song. your students at every lesson if they have observed the fingers lose in strength. Full control of the Schubert; Kamennoi Ostrow, Rubinstein; Impromp¬ Price. $1.25. Three Romances... 60 Grondahl, A. B., Lovely Red Roses (3).. Album, by Mrs. H. H. . Beach, C\. Air de Ballet. At the Making of the Ilav o0 Mayhew, G„ Shoogy Shoo (3 parts) . . . the expression marks. You will find that many of hand in all positions should be gained, however, as tu, Op. 28, No. 3, Reinhold; Valse in A flat, Mosz¬ Itoses After Rain. kowski; March, Op. 39, No. 1, Hollaender; My Flatterer . 60 Noyes, E. R„ Waken, Lords and Ladies, them did not notice that there were marks, and that in artistic piano playing they all come more or less .' Three Songs of Parting oy ElizS- Scarf Dance . Lindsay. M„ Bridge . ns- B Mountain Brook (3 parts). to others it had not occurred that the marks were into use. The exceptional positions, however, need Sweet Repose, Schubert-Liszt. :el Allen. Price, 75 cents Pierette . MacLean, E.. When Love is Done. .25 Ricci, C. It..."Orpheus With His Lute (3) Moncrieff. L.. Creole Love Song. placed in the music for any particular purpose. By not be taught during the years of elementary train¬ tic Series of Piano Pieces b.v Fior- Serenade . .50 Salter, M. T„ Sleep, Little Lady. Needhan ., Hushe .60 Stair, P.. Ojala . constantly hammering at them you may gradually ing. Price, $1.00. . Daffodils. I Do.-, ms for Piano, Stroliin .60 Claribel, O .Jesus, Thou Art Standii (3) bring them to the point where they will of them¬ c. dementi’s Gradus is only for very advanced WHEN SHOULD PEDAL STUDY BE COM¬ Trice, $1.00. Tara telle . Irish Lulia .50 Gaynor, J. L„ Slumber Boat (3 parts selves- notice the various little details. They are students. The intelligent use of Czerny studies al¬ ndrama of Hiawatha Saidee Kno Heckscher . D„ impromptu. ‘•ton, Mrs., Juanita .35 A. L„ When Love is Kind.'. MENCED? lore. May, Dutch Dolls. not little, however, to young pupils. ways produces good results. For the grade you men¬ 'oe. Price, $2.00, Valse Boherae . .50 Forman, R. R„ Morning Song (2 parts) 7» of the Child Wt by Jessie Orth, L. . Oriental Scene. “■ A- Aus der. I Begged a It is hard for an experienced player to realize how tion you can use Opus 139. You will find the r. Price, $1.00. Dav Dream . Some Said difficult the mere deciphering, and locating on the Czerny-Liebling Selected Studies most excellent, es¬ BY GRACE DALTON. sense Rhymes and Pictures, Forman, R. R„ Fair Daffodils. •k. E. R„ Memory. VIOLIN AND PIANO. Ruthven Lang. Price, $1.00. Cupid's Message ... Nightingale an iso Hoo

‘Ml?1 Box E, 225 Fifth»«., New York City ik^sass?® rli the advent of the Victor. The Victrola is the first and only i, aaBwtS of its kind. It is not simply a cabinet c IM. J. COREY tains all letters KE?l|,rCSdp%”s.*eii victhola XVI _L J " ■' “““ '•u.mmucu, ana

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^LESSONS BY MAIL Ss; s be eagerly read by College of IVIusic ' ' , ' ; ,'5»3 Bad Food SK?U Won't t&SESME*: Sift ' .I;-:-; ■ rfSiSw&HSSJS® .bl«h« £” St. * .&£&&&££££* L. successor of Joachim. if you givc it bad food. of Music and Campanaui. the eminent bai-itone. who If you feed right you will feel r' ’ UrTel fi MS* ^ J- UeBekker,cBekker, published The Sternberg School of Music HUGH A. CLARKE, Mus. Doc. Stokes Co., New LESSONS BY MAIL ‘ W t rtg “Hr,'; „ , $6f?.'net-’ Postpaid, $6.25. has This volume will be a 4632 Chester Ave., Philadelphia, Pa. Smokers Fclass pins 41st SEASON to be found in ftther works of thesanw rerem?d:rflStti0onpelfLP^tSi°f 15 sSSflt* BUS?osS?-Mass Philadelphia musical Academy jae •«> i f“of this, though the statement 1617 Spruce Street, 6029 Main Street, Germantown ■ - the soloists engaged for beside a large family of my own 1 success Of an excellent have also to look out for an aged Central School M shelbyville,ind. The ^Oldest Successful School of Music ^ mother. There was no one to shoulder HfaSm£ ^oem*' 8 ‘"The^Chambered- Chambered mighth° USeh, must°ld ^dens, bear thcmand . and whatthis iTo/i ICan Make Your Advertising Pay

TWENTY-FOURTH YEAR “I read an article in the paper about some one with trouble just like mine being cured on Grape-Nuts food, and COMB S=PSK , ■„ acting on this suggestion I gave Grape- BROAD STREET CONSERVATORY OF MUSIC ffl£Diira^K s of Nuts a trial. The first dish of this de- Jd:” licious food proved that I had struck is *••£££*« ' JVfusic Cypocrranbv in all its Rv^-hc* Mm

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,Nlinitead_ Stairs “of “There’s a Reason.">n.” Trial willwi prove- incowrS Read the famousi little boolbook, "The S^s^sui£°srs^ ZABEL BROTHERS VJX Ever read the'above letter? |‘S1==«l MUSIC PRINTERS >e mention THE ETUDE when ax "S«S3Sr- and engravers THE ETUDE 499 THE ETl)PE_ 498 V, it “Let me know when you viH SOME LISZT ANECDOTES. HOW TO PRONOUNCE THE smash it. Lee cofflposer, and the reason f°R inefficient do dat.” said the angry ^ i'sure more Carl Hahn tells the following inter¬ NAMES OF SOME WELL SIGHT READING. KNOWN OPERAS. Observer, a monthly musical magazine tvven tv-fifth year I vill adverdise it. i ““ shump dan esting stories of Liszt in the London Learn Piano Tuning lor Pianists and Violinists, contain- beoble vill come t° ee yo . Musical Standard: U ing a free music supplement valued Name. Pronunciation. A Profession that Can be Converted into w at $i.oo. Mailed upon receipt of 6c. [. KINGSTON. come to hear you sing . "My first meeting with the great Aida Ah-ee-da -- xhis style of compensation is Money at Any Time or Place in the Civil- WESTERN CONSERVATORY master was at Leipzig, where he was Andrea Chenier Ahn-dray-a Chay- CARL FISCHER, Cooper Sq., New York ^ ^ STElNWAY HALU CmCAGO , ^,^ To the question, Why cannot every- recommendednenucu among= an Hour’s Notice. being much criticised for his strong Operated “nder «“*S^Ca„ ?Mt1tution of Musical Instruction «e who has been taught mustc r ad *£ , . thp singer must always bear -advocacy of Chopin, for whom hardly (Italian pronuncia- jt sight? the answer is not so easny ^ inS.: d that the1 accompanist happens mind that tne s;tuation, and can anyone else had then a good word. forthcoming as the question Those seeking thorough musica^cducat.on amid cultured surr g|END FOR CATALOG. Liszt was one of the first, also, to Adriana Lecouv- HW-ree-ah-na Lay- understand arid appreciate Wagner’s feur cottv-ray-oor Fall Term Sept. 6th E~ "• *COTTj&%S?™y «■». Chicago genius, and he helped him in many (Italian pronuncia- ‘how it is done ways, not only by his advice, but fre¬ quently in a more tangible manner. Carmen Car-men “Liszt was a natural humorist, as Dinorah Dee-no-rah rA‘ Qa«t“ *»4 •wifL?",,hor BUSH TEMPLE CONSERVATORY “ so many musicians are. In the most Don Giova: Don Jhee-o-vahn- trying moments he would see the a m UNCOLN BUs“kFou"dKertT TeNNETH N. BRADLEY, DM Don Juan Don Wahn JSX3&SSZ ST5~ U-rtoo* himselft,,CntS? on histo °l5«singing ***-'abilities, . o, upon humorous side of things. When re¬ „?..« "been**been "taught.taught. In tebaton.religious Stability?”Sbllilv ofoi any,„y accompanistaeeompantst to d.s- hearsing a work, just prior to its first Don Pasquale Don Pas-tew/t-Iay a . the facu circles there is an institution known ennrert him when singing. performance, the clarinet made an Ernani Air va/i-nee as a "quiet day.” In musical h e we C Beethoven soon heard of thts con- extraordinary mistake. Liszt stopped, Forza del Destino Port-za-del Des-fcc- ought to have an occasional q^et day. ceiled fellow and made a wager with turned round to the offending member Business men have quiet days: periods him to the effect that he would bring hint and clapped his hands as if in praise Fra Diavolo Frail Dee-u/i-vo-lo SCHOOL Of MUSIC languages for taking stock of their work and„ r fra standstill while he was stngtng. ■of his performance and, smilingly Eeris nodding, said: ‘You have done that I Pescatori di Perle themselves, and theytney are alla.. the bette—-ter Accordingly; at one of the services tn Pt-pesh-a-to-ree dee lnatrnc- m^appHcaUon*uTK. SCHMIDT, Sec for it. Ask a school boy or girl to do k while the singer was very nicely indeed. Once more, please.' pair-lay begin* Sept. 7tli. Cal something extra. Often the reply w. ^ in most approved fashion Needless to say, the clarinet did not I’Pagliacci Ee Pal-yee-ah-chee be. “Can’t; have no time! The cur Beethoven by a gradual and adroit •offend again. II Trovatore Eel 7>o/i-va-fo-ray riculum is too crowded modulation, suddenly landed the smger “Occasionally, when a pupil was I’Puritani Ee Poo-ri’tah-nee THE WORLD RENOWNED Never has the art of teaching been region from which he could not playing some of his or her own piano II Barbiere di Si- Eel Bar-bee-air-ay brought to such perfection as it has of do anythinR but leave off his compositions, the master would recog¬ viglia dee See-veel-yee-a’ American Conservatory been to-day. Every little detail s singing. The failure of the singer and nize a melody—borrowed, shall we say? II Flauto Magico Eel Ploh-to Mah- 239-253 Wabash Ave., Chicago, 111. placed before the pupil; every difficulty confusion. t0o, was complete, —from one of his own compositions. zhee-co SOEMEH Kimball Hall , eminent instructors. Unsurpassed Teachers’ is carefulily gone into; the position chokillg with rage, he complained to With an amused look he would re¬ II Profeta The Leading School of Music at .fini Hart Conway Director. Diplomas and Eel Pro-fay-ta Training Department. 1 ublic S' ree scholarships awarded to talented pupils oi thumbs and fingers m playing, o Elector, who very wisely heard both mark: ‘Ah! It is pleasant to meet an La Sonnambula La’ Son-nahtn-boo- Teachers’ Certificates. Many ft lips, mouth and throat in singing, sides 0f the tale, when he warmly repri- ■old friend!’ F ■no»£S'j.«»«3=_ la minutely explained, the pupils having ded each of the parties to the suit, “In a conversation once with Capell- Lucia di Lammer- Z-00-chee-a dee Lah- nothing left to do but to accept the adding ^ .f one was more to blame meister Hillmann at Weimar he said: SOHMER & COMPANY La Boheme irerooms, Cor. 5th Ave. 22d St., New Vor HARRISON M. WILD instruction placed before *he“- than the other, that one was the singer ‘Do you know I am one of the best La Bo-mw Therefore, it must not he forgotten ^ meanness in complaining. claqueurs in existence? When a piece La Favorita NORTHWESTERN UNIVERSITY Organist and Choirmaster Graee Episcopal Church La Fav-o-ree-ta ° Conductor Apollo and Mendelssohn -■ u that the pupil has a duty ^ perform __ I am conducting is finished and I feel La Giaconda La Jhee-o-con-da EVANSTON-CHICAGO ===== as well as the teacher; and, if the pupil La Jolie Fille de ORGAN and PIANO LESSONS it has left the audience cold I myself La’ Jho-lee Fee' de allows anything to interfere with the Ludvig van Beethoven—“Yes, love utter a loud hiss and start at the same Perth Pairt have been before the musical pub¬ SCHOOL OF MUSIC TERMS ON APPLICATION proper and thorough assimila ion j. love him truiy and sincerely—but time applauding loudly with my back La Perle du Brazil •La' Pairl du Brah- lic over 50 years and rank with the KIMBALL HALL_CHICA°° the instruction given to him, forget that he reached the goal to the audience. Thus I start the gen¬ zeel highest standard pianos of the day. theotelibd^imsi^euiier as a profession DECKER PIANOS <">»* *» co,S- o?poeticl fr««dom only by .be eral interest, because my hissing chal¬ Lak-may Uprights, Grands and the celebrated lenges the claqueurs, who in the end La Traviata La Trah-vee-ah-ta Decker Player Piano. Full information and italog sent on request. YOUR MUSIC IS TORN!!! r r/y, stLrss. .rs invariably predominate. In this way I L’Elisir d'Amore Lei - eet - zeer dah- '• CX,dj^«.PPofGradUu^;1'nM«.iS can make anything I take up a success.’ mo-ray Decker 6 Son, Inc., ‘'V^o’iTclir It will take one minute to repair it by using i "As everyone knows, Liszt had a Les Huguenots Lay Oojh'no « C°MUu"r"e.Td1nr?o'ti'SZZS Bachelor of^Mu.jc.^ We would not think people most remarkable control over the Mefistofele May-fee-sto-fay-lay MULTDM-IN-PARVO BINDING TAPE who continue eating and drinking all DOCTOR KNEW piano; the facility and ease with which Manon il/a-no'n' '5 SS*F4ublS°%ooI Mu.ic »r 10-ys day. The mental digestion is quite as Had Tried It Himself. he executed the most difficult passages Mignon Meen-yo'n' r, 25c each, I delicate a process as the physical one; _ CourSe“e,h°a*d V include literary studies m roll of I astounded all who heard him. He Manon Lescaut Ma-no'n' Less-co the College of Liberal Arts or Academy with time and quietness being as requisite ^ doctor who has tried Postura would frequently play on his own ac¬ Roberto il Diavolo Emerson piano co. rrrr Ro-hoiV-to eel Dee- in the one as m the other. knows that it is an easy, certain, and cord, but one never dare ask him. ah-vo-lo high grade Grand and Upright Pianos. Catalog on request. ° U,\ thorougH*? re pa va lory Deparlmeut is main- Theo. Presser, Philadelphia, Pa., We believe that this is the reason pleasant way out of the coffee habit and Strolling over to a piano he would Un Ballo in Mas- Oon Bal-lo in Mah- laThe* environment is perfect and social ad- for defective intonation and for poor ^ ^ ^ {ollowing and he pre- 560 Harrison Avenue, Boston vanlages si.pc. i.u. Catalogue upon request. strike idly a few chords and then sit chera (Masked Ball) e^n'bettt !f poSible- scribes it for his patients as did a physi- down and begin. He spread his hands p. C. LUTKIN, Dean, Evanston, Ill. in a way that seemed to double their Vita Brettone Vee-ta Bret-fo-nay teaching standard rema'in; but let the cla" ° his^atients says’ length, and with his arms out at right Werther Vair-tair students, whether elementary or ad- ?Durin thcP summer just past I sui- angles, the whole position gave one an Zaza FINEST CONSERVATORY IN THE WEST vanced. thoroughly assimilate and so **., . .., foelin? at idea of an overwhelming power about “Used by all Up=to=Date Teachers” not waste the efforts put before them fered terribly wi_ . and dizzy feel- to attack the keyboard. DETROIT CONSERVATORY OP MUSIC for their instruction and pleasure; and ^le PJ ° £ , , blindness “During the course of a visit to a THE KINDER not afterwards, when realizing their •" my head and then a bhndu MUSCULAR CONTROL OF TOUCH family not too well off, in whom the Adjustable Foot Rest inability to perform as brilliantly as ex- would come over my eyes so 1 jouh As the finer muscles of the hand 530 Woodward Ave., Detroit, Mich. master was interested, he struck a few pected, blaming the teacher (or look- have to ^°.YnV ,1 rnntrol my chords on their piano. ‘Ah! what a strengthen and effect the touch, a great Unsurpassed Advantages for a COMPLETE ™?ICAL EDUCATION ing elsewhere for the defect), when nervous I could hardly control my Pedal Extenders for the Piano tin kettle!’ said he. The owpers apolo- change seems to take place in the feel lie children who use them learn twice as fast and practice twice as OVER 1,000 STUDENTS—-50..THOROUGHLY SKILLED INSTRUCTORS. the trouble is within, in the form of *ee gized for the poorness of their instru¬ and character of the notes, for they much with half the exertion. weak mental digestion, which has been ’ “Finally I spoke to our family physi- cian about it and he asked if \ dran ment, and gave up all hope of hearing appear to acquire an added smoothness Foot Reit $3.°°. Pedal Extenders »2.00 per set of two badly used or which has not been him play. But the Abbe in answer to of surface. The result is brought about PeCho,,;!vC0U?i!-,teache.rsJand,,Vade- Sold by all first class music given a fair chance to perform its much coffee, and mother told him t > uses. Agents wanted. Illustrated catalog for the asking. I did. He told me to immediately their excuses remarked: ‘To play on through the point of contact being assimilative and its retentive functions. stop drinking coffee and drink P°stu™ a first-rate concert piano is no great art, made by the sensitive part of the end W^lARKS^ortWashingtoiLNEW YORK JAMES H. BELL. Secy. —Musical Opinion. but to produce something on a tin Vrlte for Catalogue. ____ in its place, as he and his family bad of the finger—the same part that one used Postum and found it a power u kettle, that’s what I call art,’ Sitting would use to examine any powdered rebuilder and delicious food drink. down, he did wonders, avoiding faulty substance to feel if it were the least AMERICA’S BEST AND GRBATEST TWO ENTIRE FLOORS ACCOMPANISTS. “I hesitathesitateded for a timtime, disliking^ .•nS’, n!Ute strings> Sticking notes, and gritty. This fine sensitiveness does OH, FOR A CAMERA Send FOUR Subscriptions to THE ETUDE still delivering a work of art—on a tin " and Get This One FREE Perhaps the least appreciated branch idea of having to give up my 1 kettle! not seem to be so pronounced in the of musical11 CHI.art is thatl 1 id.L uiof clLCUinyclIiyiUg.accompanying, hutuui finallymiauj Ia fS'-'*-got a** packageK"’-o- and flatter under part of the finger. SCHOOL ~ He was a great master of languages, PBEMO JUNIORS it is a separatete accomolishmentaccomplishment in it to be allalt the doctor said. ^ Indorsed by Press and Public and spoke fluently French, German, The muscles which might generally itself, demanding powers entirely dis- “Since drinking Postum in P,ace Stage Dancing, Etc. Hungarian and a little English. He be termed the weaker are those that tinct from those of the solo performer, coffee my dizziness, blindness and1^ Dramatic Art, was always extremely popular and raise the fingers, separate them and And yet, while the accompanist re- vousness are all gone, my '>0W?,S,I1(1 c sought after. At Weimar he was control the top joints. Any unneces¬ Vocal Culture ceives scant recognition at the hands regular and I am again well ^ sary sympathetic movements of the un¬ are Biipplied, and the shutter is ahsoluteiyS*T' (Up-to-date in every detail.) of the public, he is often made the strong. That is a short stateme11 „„}J“on par silence of the place, Buck Jig Skirt, etc.. Opera, etc., Elocution, p * crowd of admirers waiting occupied fingers while playing might .. ’ Singing and Rag Time Songs. Vaudeville scapegoat for an unsuccessful perform- what Postum has done for me. . also be stated to be due to weakness Acts Sketches, Monologues, Etc. NO * singer or solo player. Handel Look in pkgs. for the famousi i was f° iS-eC. hil"‘ Even then he ^four^itude subscriptions,165 ^ * ^n for sending FAILURES. of kindness, and gave you of muscular control. PROFESSOR P. J. RIDGE, was once in hot water with a singer book, “The Road „ ---id others. !ftryh ar;T- With tha‘ wonderful The various other touches of arm, tSeSipfir a"d iS for “S named Gordon, who accused the com- “There’s a Reason.” . rz' PREM°ETTE, FOLDING CAMERA, makes aVxzV anagers in America. K. v .' poser of accompanying him badly, and Ever read the above letter? * his vi however- he would make wrist, etc., are not mentioned here, as' his visitor understand when he must nine seubscript™n!0n A mSl¥4^), BiVen for se”dinS uramaticMirror.Cinvmuau.ti Billboaid. Tfco----- only School added that if he did not change his one appears from time to time- these involve the use of the larger or excellent pictures and of makes m old! on th^stagl” ¥« La‘SailednSrMaditon6 SL.Chicag style of accompanying, he (Gordon) are genuine, true, and full oi ^ detain you^ any longer.’master ” > I will not stronger muscles.—Edward Atkins, in would jump upon the harpsichord and interest. Hand Culture. THE ETUDE, ''*if, Please mention THE ETUDE when addressini ntion THE ETUDE when addressing our adverts. THE ETUDE 501 ON PLAYING FOR NOTHING. SUMMER SCHOOLS VIRGIL What Others Say Mr. and Mrs. A. K. Virgil will spend the season 1909-10 in New York "We are advertised by oar loving BRILLIANT TEACHER OF THE PIANO COMING TO The Shepard Piano System AMERICA THIS SOMMER “Jrrwawfc r VITAL HELPS (or Tea, ' ' " teaching in Vienna for the past eight play two?” '• ' timei mT/n* “'■“J years, to conduct a summer school dur¬ And I replied, that I did not see how “ , C ,'mes. mo.re PreP°% ing July and August. rS$ THE AMERICAN INSTITUTE OF APPLIED MUSIC School of Music-Education CALVIN ItliAINEKII CA1»V. Principal ’ P ... “4”° - *■“« -*prj Summer School and Normal Courses sISSBS^ “Who is going to furnish the ice the ground that you are a professio, M&M “usrrr j. WARREN ANDREWS Conservatory of Music sseisfie S3S «■*- *—■»- See Special Announcement of

MR. AND MRS alssSiS CROSBY ADAMS

on page 502 of this issue Address, A. H. JAY. Secretary

MT.CLEMENS Mirh mineral SPRINGS , -sP I spsips1 Wi THE ETUDE E ETUDE .4 Kindergarten Courses pagiS502 The Fletcher Music Method

EVERY progressive Teacher realizes COURTRIGHT SYSTEM OF the NECESSITY of a course ot TRAINING to equip her to teach MUSICAL KINDERGARTEN CHILDREN. No mere instruction BOOK can adequately train her t The Most Practical System Known meet the DEMANDS of modern CORRESPONDENCE COURSE musical EDUCATIONAL methods THE ONLY SYSTEM WHERE PUPILS HAVE ACTUAL PIANO LESSONS FROM THE START THE FLETCHER METHOD is recog- THIS SYSTEM GUARANTEES TO TEACH SIGHT READING ™ed as the STANDARD MUSI¬ CAL SYSTEM FOR BEGINNERS MRS. CROSBY ADAMS PRICE, 50 DOLLARS The Fletcher Method Summer School which includes all material for a school opens at Eliot, Maine, on July 5th, 1VUV send for the new game MUSICAL NAMES AND MEASURES Teaches Notes, Time and Spelling Composers’ Names BRIGHT COLORS AND ATTRACTIVE Evelyn Fletcher Copp PRICE, 75 CENTS 31 York Terrace, Brookline, Mass, or Box 1336, Boston, Mass. This System will bear the closest investigation CATALOG MAILED ON REQUEST AS TEACHER “l'"* — LILLIAN PRUDENCE COURTRIGHT BRIDGEPORT, CONN.

Dunning System of Improved VON UNSCHULD Music Study for Beginners

UNIVERSITY O F MUSJJ? UiLORCE JLLIOT. In response to a demand, which has increased from rear „„„ .. „ The best way to comprehend is to nutnung System be taught at Chautauqua Lake the seco ^- tar. liiat^the

If Faculty of Artists. The only aim of the Lake Eri&’ July 5th’ at Buffal°. N. Y., an ideal As these classes ai tited and applications are coming in ear.ierthan ever asnfnT’K, possible.WOU EndorsedJd a" — bv- LesrhEthirv—ugmy3ughiy ,„v_investigate,° then ‘csisterregister as early Mason, Wm Sherwood and many others and declared by themmann’ Dr* best system for teaching childrer :- * - aeciared by them

CARRIE LOUISE DUNNHVr Mme. Marie von Unschuld, 526 Delaware Ave„ Bllf# - .. IIX Cj Buffalo, New York 1347 L St. N.W., = Washington, D. C. Miss Gertrude Paine ,.m„nL

normaT teachers in Los Angeles, California, Sept 1st 3 rse f°r DANA’S MUSICAL INSTITUTE conditions as Mrs. Dunning conducts the clashes. Address SamC MISSGERTRUDEPAINE, JQ23 s. Burlington Ave., J Ange,es. Cal.

Music taught in all its branches. InstructioryWy and private. Practice

. our own farm. is a large Orchestra and two fine Military Bands Send for a 64- ilog and the blue book which gives f " ‘ ‘ 8 BURROWES COURSE OF MUSIC STUDY. L13*h WILLIAM H. DANA, President and Kindergarten and Primary—Instruction for Teachers by Home Study All music teachers are urged KATHARINE BUBROWES, TZ ZT - ■ ^ . and Anecdote (Polka), • • ■ •- ima Strauss. Joh. Thousand and O'.’, N ignis. : BUTLER io.7. The Surprise (Taran¬ 3. Tnpley, Byron C. Festival March, .... davis . Bl. Bngelmann, H. UP 3656'. T schaikowsky, T. ( to to Op. 586, No' 5." To the Dinner 2696. Wagner (from “Ta^nhauser ). 19. Engelmi . ■ DUNNING r:33n.. mg Star, Pilgrims’ Chorus, from Tannhauser, . day :. 2412. wSV DENISONSt;-,rSi'r,"; : FLETCHER - Zernickow, E. Op. 13. The Daisy, . GRADE HI- ■ JOHANN STRAUSS AT THE RUS¬ in at the ticket window and shouted, iJSA-iMmi.:. J r»l'.U. r;. O, ». No. 1. M Thought,. . DEVINE.LENA DORIAskk . HARMONY rSSE SIAN COURT. breathlessly: Armstrong, F. L. The Organist's Musing., * *• Streabbog, L. *g No. f pjy First March, C Battmann, J. L. ' The Flight,^. When royalty condescends to ex¬ ‘“Theatre’s afire! Gimme me money grade IV. greene . back!’”—Washington Star. kern... . tend an invitation, there is nothing for ,9. Batiste,™! The Celebrated Andante. . * 1551. Battmann, J. L. Festival Offertory No. 1.. ■•••; the honored individual to do but to Uch Maestoso ...... 1562. Beazley, J. C. At Eventide,. ■• - • • • gricks ’. . 07. Home, sweet Home,. 1516. Clark, Seotson. Pr°c«« March, . . HS-SSSSit K no.11. Overture,—Volun* ■ kindergarten bbsb accept. The consequences, however, One of the anecdotes which Andrew Clark, Seotson. Torchlight March, . . caefanu Marche des Girondms, HAGERTY. . r ' are not invariably delightful. Carnegie is fond of telling concerns a grade n. 2K SSES= ; 8. Battmann: J*. L.* bp.'lS,'n'o.'h. ' Overture.-Volur NORMAL'tr::!’^.^ When Johann Strauss took his fa¬ 1547. Clark, Seotson. P^grims March, . . in F, . crabbed bachelor and an aged spinster, he Victor 15481548. Clark, Seotson.s*coison. Belgian March, . . Gounod C. Funeral March of a Marionnette,.... HAIGHT... mous orchestra to Russia, some years who one day found themselves at a 1554._. —rFlavell. E. M.m ..Devotion, . k'nitrht T H Hilarity March (Two-step), • • • • • shepard;::': ago, he received a command to play concert. The selections were appar¬ ie Pontificate), c’has w School of Reed Organ Playing, . 1 heink . . Mendelssohn^*F^ Wedding March (from Midsummer STORER before the Czarina in her summer ently entirely unfamiliar to the gentle¬ IRELAND "'. palace. In this there was nothing very man, but when Mendelssohn’s “Wed¬ 2126*. HanVsch^M.^FMtival Poionaise,'op/lO^ No. 1,. . * M«frt wT'b'loria,'from TwelfthMass, : ! 1 - terrifying to Strauss, but he was much ding March” was begun he pricked up 1566. ^“"^’"chasfw^School of Reed Organ Playing, ^ Petre T. Op. 27, No. 7. In Good Humor,. . ■ • ■ ■ 2650. °r,,i“*erAApr Angels, Ever Bright and Fair. Spark, W. Wedding Procession (Grand March), . - Johnson "• .'•„;:rr SCHOOLS AND COLLEGES astonished when he was informed that his ears. “That sounds familiar,” he 1560. Handel, 0. F. £ng ExerciSes (Supplement to 3. Spark, W. Wedding rroEc«im. Voi. in.... 16. Tritant,Qustave.rwC.iA._* Gucfavp. Snrine:Spring Song:,..Song, *' *. it would be necessary for him to re¬ exclaimed. “I’m not very strong on m "^h^ oTReed Organ),e.. 2900. Le Defile. Marche Militaire, • • ■ - • •. (2 Vo whies, H. 0. Frolicking March (Two-rtep), KINDER : ; hearse the program three times before 1525. Jungmann, A. Longing ior Home^^^^^.^ 2901. LeThiere, Chas. Danse Des Aborigenes. 9 Wagnei, Richard. Tannhauser March, arranged,. these classical pieces, but that’s very 1511. Leybach, J. Marche Pathetique, .' the performance. He protested that AQUINAS good. What is it?” The spinster cast 1612 ^dCn PiWVol.il), ; ; 1514. Leybach, J. Grand March in .. FOUR HANDS. kroegerk,;lis£1:“ rehearsals were not at all needed, but 1529. Leybach, J. Pastorale,. . .. . down her eyes. “That,” she told him Leabier«;o.°PO;8102. “^iratVfolet. bartel... the order was repeated without any demurely, “is the ‘Maiden’s Prayer.’” 2654. Leybach, J. Andante.from Sonatina 2706. DewejG* FerdTnand’. ^le^ks' Round' Dance. MONZEL other explanation than the fact that it - Lichner, H. Op. an, wo. »• —Cleveland Leader. SfflSri »^-.no.-s; :::. - 9 in D Major,. ler Night's MOULTON ' -'SH: Beethoven:;:::::::;:!:: was the wish of the Czarina. 1502] Lichner, H. On the Playground,... • • 0 1193. Mendelssohn, F. Noctw There was no help for it, and Strauss 0 Dream, . . • • 1^. UichneV, Hi ?heePaarade March,.’'. March o nichols calhoun . laboriously went through the three re¬ Admission to an organ recital gi1 5 1535. Mendelssohn, F. hearsals. All the time that his musi¬ in a suburb of New York recently v K75 tosey!FHH- X^ ^arch of thTRea^uard, . . petersilea:^^,.,: cians were playing, he watched with carl free, but the program did not seem 1199. Lysberg. The Fountain,. . - ..' , 2131. Strealbog, L.' TheGolden Stars W dts. Grade I, P0TTER,:t’“;;;r^;:;.:r: the utmost astonishment an empty attract much of an audience. Mo 2714. Mutter, C. F- 'rhe Body Guar ,^r.'e-fron.: Home, chandler* v.:;::,.. court carriage which was being drawn over, in addition to being small, t back and forth by two horses in front quinlan :r.. of the orchestra. audience was apathetic and the org: chase’":::;:::.,.,;;:::. ist was unhappy. Presently a seer When the day of the performance salmon DETROIT 'rHSS'S:,;;,, before the Czarina arrived, the mystery looking gentleman entered the chiin SHRYOCK was explained. The Czarina was suf¬ and within five minutes was clappi Durham'* fering from a severe attack of gout, vigorously. His enthusiasm speed; tilden . and was consequently compelled to rest grew loud and frequent. The recit her foot on the cushions of the car¬ in short, after so poor a beginni hahns school nM.,:, „ COMPILED BY CHAS. W. LANDON tracy riage. The only object of the rehears¬ passed off splendidly. With feeli HAWTHORNE als had been to accustom the horses of deep gratitude the organist accos Price, $1.50 Foreign Fingering A M0RE popular COLLECTION OF MEDIUM IN FOUR GRADES veon to the strains of the music in order that his seedy listener as he was leavin; Price of each. $1.00 (Sheet Mu.ic) there might be no chance of their tak¬ The method Is superior in ^FW^i^acondsM? grade pieces has never been published HEINZE “I was delighted to see that you in general use. It is carefully ~ ■ ~ A complete school, consisting of a m8}odl°”SedS'* \ wheeler ing fright. preciated my playing^” he exclain explained and Illustrated; not only the ho are given. Every piece is wiLDER:::;r;;n.,:.u;:i:r^Y;-:::: KNOX The close of the state performance, warmly. c\x>r'\Kinniki in hrincVvrincr nutout the bestb« eitects -.for ** .,.niiers Beethoven Conservatory of Music SHENANDOAH ‘ over an hour. Then he stopped - 1 me Use oi Exercises Little Rome player St. Louis, Missouri “I presume that will be sufficient,” “That singer has a very high v he said. hasn’t she?” ST. CLARA S PRICE. 50 CENTS Reed Organ “I should say so! You can’t Imposed and compiled by I am not at all tired,” remarked the Price, $1.00 virgil dignitary calmly. her decently under $5Belli 'NE THAYER, Mus. Doc. An excellent collection of very easy compositions, similar BROTHERS EPSTEIN, Directors Thia work has been made to answer a demand for Reed This was the last straw. “Well, I American. to “First Parlor Pieces;” the difference between the t Op. 100. Price, $1.00 volumes being that this work is suitable for the organ ar —“ Orga'Mut fmm Grades HI to V, of which there neve* am, cried the musician, and fled. has been a volume obtainable. , ... let of Dr. Thayer’s life experience, including his HAYDN AND MRS. BILLING! “■nTer'Twe twenty-nine selections in foe volume, covering Material will be found in this volume fo all occasions. MUSIC TEACHERS Henry Russell, the head of the Bos- Every real lover of music must on books is always beneficial, broad- a wide range of composers. A few of the pieces mentioned Marches and Voluntaries, Religious and Secular. sening drudgery. This book, used ' Mendelssohn, Handel, Farmer, h,chfocrrade *" °Pera- was describing his former Haydn’s expressions to Sir Joshua won Vio fflken uo at the very fii 1W mav give some idea of the character of the work positions “ Gaily Chanting Waltz,” byBehr; “ The Young Recruit, re a few of the authors of the 5* compositions to be found ---- ln search of talent. nolds, the artist, when shown Vy Rathbun; “Little Hostess Waltz,’ by Engelmann; this___ volume of 120 pages. “They were mean people.” he said of picture of Mrs. Billi„gton. the 1 “Sunset Nocturne,” by Read; “ Haym^ers’March, by ------~ ^ the singers of a certain city. “I could singer of that era. Said Haydn: Zimmermann; and “ To the Playground, by Margate,n. ^UlldrCd VolUTltane9 do no business with them. They Yes, hke, very like, but you’ve 1 thought only of money.” a sad mistake!” MS (Urgant The Interstate Teachers’ Agency Mr. Russell smiled. H Graded Course of Instruction By CHARLES RINCK PRICE, 50 CENTS “They were as bad as the man who "v°T?” asked Sir Joshua. jflumes Price, $1.25 Each Macheca Building New Orleans Youve made her listening to discovered the Blank Theatre fire Containing short pieces, including interludes ami preludes SUPPLIES SCHOOLS, COLLEGES AND UNI. angels You should have maffi nposed by the Cabinet Organ for the organ, either pipe or reed but espeaally |®r >^ V ERSITIES WITH DIRECTORS OF MUSIC, . ‘‘Th? firs‘ intimation the box-office angels listening to her/99 and amateur use. Suitable for church service. It is Witten PIANO, VOICE AND VIOLIN TEACHERS ^hlrH0! fr fire Came at the end of the ByDjr n.M. o.S. MORRIS -Price, 10 cents each in pUrely strict style and will make an excellent study for third act, from a fat man who bounded Thereupon Mrs. Biilington spran threw her arms around his netk A carefully compiled list of^books and^leces for this popular theory nention THE ETUDE when addi down the gallery stairs, stuck his face kissed him. ~PRESSF,R, PUBLISHER, 1712 CHESTNUT ST., PHILADELPHIA. PA HIGHEST IN HONORS IVERS & POND Walter Baker & Go.’s PIANOS. Advanced Models. Cocoa and Chocolate Dur latest styles embody new res which place them, from 129 r„?^,^f°sasr,y both a musical and structural point of view, in advance of others. The case designs are strikingly attractive and up-to- A medical writer says-“The Lc date to the last second. Our of a thoroughly reliable preparation ■- new catalogue containing half¬ tone illustrations of our new of cocoa should be universal!/^-" styles of Uprights and Grands couraged, and it is the consensus/of sent free

as laboratory workers th/t the break-

Baker & Co. Ltd/not ody^elts Ivers & Pond Pianos the indications, accomplishes even Vm out thed United^States/buMf'we have^no fromerourarex°ensre / tSUpP'y, yo“ dlj^ct WALTER BAKER & GO. Ltd. E,,r^oh'd DORCHESTER, MASS. IVERS & POND PIANO COMPANY,

SUCCESSFUL WORKS FOR TEACHERS - S

HISTORY OF MUSIC selected’:*czerny” studies

A COMPLETE MODERN COURSE ... HAR

' ;oP-Vs/' For lowe^

not oitij-a text-book, but a system^of teachmeCt*Ce °n m°dern comP \. the great PRICE, si.oo gasweU- Vdir. V« Large Discounts, Easy | , u__ ^ lv,„s, , 0 ' /_ hut you’ve made THEO. PRESSER, P^USH«rDBE0A°LkER "|**« LtnT^^ Joshua —_^‘"PQRTER' 1712 Chestnut Street, PHILADELPH i, her listening .. ^* huld have made ~PIAN0S